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26 JANUARY 2011 )

Through The Looking Glass

LEFTFIELD: Open Up On The Comeback ~ SANGERS &RA: Two-Time Lucky Breaks SUPERHEROES & The Twilight Effect ~ RARE GROOVE Explained


















CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Clare Dickins, Darren Collins, Dave Dri, Dave Jory, DJ Stiff y, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwston, Jane Stabler, Jann Angara, JC Esteller, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Kiersten Seeto, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matt Unicomb, Melissa West, Monica Connors, Nick Connellan, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney, Tom Brabham, Tom Edwards, Tristan Burke

Alexis Dewick, Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Luke Eaton, Terry Soo



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1 Friday @ Birdee Num Num

5 Lambda @ Alhambra

2 Friday @ The Church

6 Noy vs Luki @ MonaямЖery

3 Friday @ The Met

7 Saturday @ Family

4 Friday @ X & Y Bar

8 Big Day Out











While we could jerk off about the epic Coachella 2011 line-up forever and a day, the culture of fake Coachella line-up posters is equally awesome – and this year’s winner is Fauxchella, with fict ional bands like CB4, Wyld Stallyns and Jem and the Holograms leading the charge. Needs more Pugwall & The Orange Organics though…


Mr Oizo’s new fi lm Rubber tells the tale of, yes, a car tyre named Robert who goes on a killing spree. If it ever gets a cinema release here you may want to chew on some cardboard beforehand…


We’re st ill slightly suspicious of Adam Yauch’s Fight For Your Right Revisited short fi lm which reportedly tells the story of the Beast ie Boys’ (You Gotta) Fight For Your Right (To Party!) fi lm clip, but it’s going to be hard to go wrong with Elijah Wood, Danny McBride and Seth Rogen playing the Beast ies…


Good Vibes’ US R&B contingent have bowed out to stay at home and do the Grammys instead. Seems they prefer 25 million viewers over tens of thousands up-for-it partygoers. We’ve got two words for Janelle and Cee Lo – “Fuck you.”


The Florida man suing WikiLeaks and its founder Julian Assange for $150 million for the alleged “INTNTIONAL (sic) INFLICTION OF EMOTIONAL DISTRESS” through leaking of documents about the US government clearly has much bigger problems in his life than even Assange himself…


Following Hey Hey’s shorter-than-Red Faces-found-fame comeback last year, Rove McManus is to return in ‘11 with a show produced st raight outta LA. At least he’s not flogging a dead ost rich...

BAD NEWS EVERYBODY – Doves have cancelled their February tour of Oz... IT STARTED LIFE as a series of Queensland flood relief fundraising gigs, and now DanceAID has spawned a CD as well. It’s available for download via iTunes for the next eight weeks, and features tracks from David Guetta, Axwell, TV Rock, Nervo and Denzal Park as well as exclusive acoustic versions of club tunes from Dirty South and Zoë Badwi… EVERYONE CLAIMS TO love their daily coffee, but only a very small percentage of dedicated addicts would get through Starbucks’ new Trenta size. It holds 916ml of fluid – that’s 16ml more than the average stomach’s capacity. Quality over quantity clearly isn’t part of their mission statement… THE HUMAN HEADLINE Kanye West inspired the rage of Britney Spears fans recently when he posted this tweet “‘Britney, I’m really happy for you and I’mma let you be [number] 1, but me and Jay-Z’s single is one of the best songs of all time!” The rapper had to later explain the tweet was just a joke. At least now thanks to Ricky Gervais he is not the most hated entertainer in the US… CYNICS MIGHT STILL be turning their nose up at Jamie xx remixing Gil Scott-Heron’s 2010 long-player I’m New Here in its entirety, but the proof will be in the pudding when We’re New Here is released locally through XL Recordings/Young Turks/Remote Control Records on Friday 18 February…



Future Music Fest ival have announced several additions to their already burgeoning line-up – and, bless ‘em, they’ve managed to keep the bill diverse. First to be added is UK’s Professor Green, the fast-paced rap/ pop crossover MC whose track Just Be Good To Green (featuring Lily Allen) received worldwide acclaim. Next up is Zowie – a pint-sized Kiwi who’s been making waves on Triple J and wowing US blogger Perez Hilton. Elect ro label Dim Mak has thrown in Tai, Shazam and Mark “Cobrasnake” Hunter from their stables, alongside Aussie legend tyDi (a former Aust ralian #1 DJ on the ITM50 DJ Poll), DJs and reality TV stars Stafford Brothers and British expats Binary Finary. Re-cap: the dates for FMF 2011 are Saturday 5 March at Doomben Racecourse (Brisbane), Saturday 12 at Randwick Racecourse (Sydney) and Sunday 13 at Flemington Racecourse (Melbourne). For those with tickets, throw those dates on your calendar – for those without, tickets are st ill available through Ticketmaster. GARY NUMAN


There are but a few names within elect ronic music more revered than Gary Numan. Being the enigmatic, guitarwielding synthmeister he is, what better way to celebrate the 30th Anniversary of Numan’s The Pleasure Principle than with an Aust ralian tour? He’ll be bringing his new-wave revival to our concert halls this may, supported by some “very special guests” – Aus-elect ro baby boomers Severed Heads (remember Dead Eyes Opened?). The tour kicks off in Brisbane at The Tivoli on Tuesday 12 May, Sydney’s Enmore Theatre Friday 13 and finally hits The Forum in Melbourne Saturday 14. All tour dates are 18+ with tickets on sale from Thursday 3 February at Don’t miss the chance to sing the fi rst verse of Cars loudly with hundreds of other likeminded fans. BASSNECTAR


One dubstep producer on everyone’s to-do list this year is American Lorin Ashton, known simply to fans of warbling noise as Bassnectar. Last year, the long-haired connoisseur of heavy synthesis remixed, DJed and produced his way onto the line-ups of Coachella, Lollapalooza and Ultra Music Fest ival – throw in a couple of releases in 2010 and now he’s set to bring the full force of US dubstep, grime and furious sound to Aust ralia. Not one to be confined by the niche sound of dubstep, Bassnectar has provided remixes for some of the most renowned genre-spanning artists, including KRS-One, Fever Ray, Diplo and RJD2. Expect to hear a ton of new and unreleased material from his self-run Amorphous Music label, amongst his original product ions when the tour kicks off in Brisbane at Barsoma on Thursday 17 March, then Chinese Laundry (Sydney) Friday 18, The Club House (Canberra) Friday 25 and Brown Alley (Melbourne) Saturday 26.






Although music hasn’t always been at the forefront of the career of Bülent Gürler’s (or Butch, as he’s better known), the tech/ house producer and DJ has had his toes in the creative sphere for years prior as a graffiti artist. Now, he’s recognised as one of the most talented musicians in his field and will be showcasing his flair behind the decks in Aust ralia this February. Butch’s experimentations in house, techno and elect ronica are renowned within the ‘highpriest’ producer circles, and No Worries reigns supreme as one of 2010’s most played tech house cuts. Butch will begin the east-coast leg of his tour aboard the Spice Afloat Midnight Cruise (Sydney) on Saturday 12 February, followed by Revolver (Melbourne) Sunday 13, Monastery (Brisbane) Friday 18 and Trinity (Canberra) Sunday 20.


American rap pop-star Chris Brown is as famous outside of his music career as he is in the recording booth. Brown recently celebrated his musical return with his latest release Yeah 3X, which is currently nest led on the higher branches of the ARIA tree at #5 on the singles chart. He’s celebrating his revival with an upcoming album, F.A.M.E., and a world tour of the same name starting in Aust ralia. CHRIS BROWN Supporting Brown on his mighty comeback tour is local songst ress Jessica Mauboy as well as Just ice Crew and DJ Havana Brown. They begin at Rod Laver Arena (Melbourne) Saturday 23 April, Acer Arena (Sydney) Tuesday 26 and last ly Brisbane Entertainment Centre Friday 29. Tickets available Friday 4 February through Ticketek.


Forward-thinking supergroup Afro Celt Sound System return to Aust ralia in March, showcasing their refreshing blend of world music. ACSS have been kicking around for longer AFRO CELT SOUND SYSTEM than a decade, and are at the forefront of combining traditional African and Irish sounds with dance, bass, groove and a whole lot of rhythm – and in doing so, have redefined the way the world views contemporary dance music. Don’t believe the hype? They’ve played at Glastonbury, and have been breaking down the walls between opposing genres for Aust ralian audiences since their fi rst down under tour in 1997. Th irteen years later they’re playing the same fest ival that housed them the fi rst time round – WOMADelaide – from 13-15 March, then hitting the Sydney Opera House Monday 14, The HiFi (Brisbane) Tuesday 15 and The Hi-Fi (Melbourne) Wednesday 16. PURPLE SNEAKERS DJS


Sydney’s Purple Sneakers DJs have released the follow-up to their We Mix, You Dance compilation – aptly named We Mix, You Dance Vol 2. There’s no denouncing the trio’s ability to blend dance, indie, rock and pop tunes into one cohesive and highly listenable package. Alongside the release, Purple Sneakers DJs have announced an enormous national tour. Catch them at Never Land Bar (Gold Coast) Saturday 12 February, The Espy (Melbourne) Sunday 13, Terrigal Hotel Friday 18, Mona Vale Hotel (Sydney) Saturday 19, King Street Hotel (Newcast le) Friday 25, Alhambra (Brisbane) Thursday 3 March, Family (Brisbane) Saturday 5, Hoey Moey (Coffs Harbour) Friday 18 and Transit Bar (Canberra) Friday 25. Check out for ticketing info and to a sweet mini-mix of their second release.


AFTER CONQUERING MUSIC, fashion and fragrances, P Diddy made his stand-up comedy debut in New York last week with a surprise appearance during comedian Chris Gethard’s sketch show. Diddy has also been carving out an acting career, making appearances in Get Him To The Greek and Entourage, and has an album of club music co-produced by Guy Gerber due as well. What a guy... “PROPER” HOUSE MUSIC label Azuli is set to re-launch in 2011 courtesy of their new Netherlandsbased A&R rep Ricky Rivaro’s Global Guide mix. Hopefully reviving the Choice: A Collection Of Classics series is next... FAMOUS FOR DOING not much at all starlet Kim Kardashian is set to make her music debut working with Grammy-winning producer The-Dream. The reality TV star was encouraged to venture into music by her good friend Kanye West. Thanks for nothing Yeezy... THE END OF the road is nigh for Mike Skinner’s project The Streets, with the fifth and final album Computers And Blues due out Friday 4 February... YOUNG AND DREAMY Justin Bieber’s One Less Lonely Girl nail polish range sold out in over 3000 Walmart stores across the USA. Obama has declared a national crisis… INDIEELECTRONICA ACT Stateless finally follow-up their slept-on 2008 self-titled debut, with the Damian Taylor (Björk, The Prodigy) produced Matilda out through Ninja Tune/ Inertia Friday 18 February....


GENERAL OUTLOOK It is 2011 and st ill people doubt my skills. So here is a look back on some of my amazing predict ions which time has proven to be frighteningly correct. AQUARIUS (20 JAN TO 18 FEB) From 3D World, 2002: In the future, expect to see Sex And The City make the leap to the big screen. The fi rst attempt will work, the sequel will fail. PISCES (19 FEB TO 20 MAR) From 1987: Aust ralia will follow the USA to war in the Middle East. You will subsequently become a male escort. ARIES (21 MAR TO 20 APR) From December 1963: JFK’s violent death will become fodder for an Oliver Stone fi lm. Stone will also make a woeful fi lm called Wall Street: Money Never Sleeps. TAURUS (21 APR TO 20 MAY) From 1874: Your dream of pulling a sexy threesome will come true eventually, except that the people involved will be incontinent and in their late 70s. GEMINI (21 MAY TO 20 JUN) From 1991: VHS video will soon be replaced by something called DVD. That will subsequently be trumped by a new format called Beta. CANCER (21 JUN TO 21 JUL) From the early Jurassic period: Man will become the dominant species on the planet, but will become his own worst enemy thanks to pollution. LEO (22 JUL TO 21 AUG) From last year: You will make a difference to the lives of kids in need. Unfortunately your impact will be a negative one, when you fail to repay a loan to the kids. VIRGO (22 AUG TO 21 SEP) From 1987: Growing Pains star Leonardo DiCaprio will become one of the biggest fi lm stars in the world. His co-star Kirk Cameron will disappear into obscurity. LIBRA (22 SEP TO 22 OCT) From 1911: George Lucas will produce prequels to Star Wars which make the originals look like pieces of shit. Start sleeping on the footpath now to avoid disappointment. SCORPIO (23 OCT TO 21 NOV) From 1999: Something called The Facebook is going to revolutionise the way people don’t relate to each other as human beings anymore. SAGITTARIUS (22 NOV TO 20 DEC) From 2003: Sex between humans and animals will remain illegal, mainly because there are so few restaurants where you can take an animal on a date. CAPRICORN (21 DEC TO 19 JAN) From the 1970s: All your dreams will seem to come true until you wake up and realise your dream was brought on by smacky ecstasy.



JANUARY SUMMER MELTDOWN: SOSUEME DJS + MORE– Wednesday 26, Fox Hotel LAIDBACK LUKE – Friday 28, The Met ROGER SANCHEZ – Friday 28, Electric Playground TV ROCK, RUDY, ACT YO AGE – Friday 28, Family ANDY C – Friday 28, Monastery FLOOD RELIEF: KAZU KIMURA – Friday 28, Barsoma ANARCHISM – SOCIAL SICKNESS: UN3XIST, HELLRAISER – Saturday 29, Basement 243 BREAKS & ENTER 4TH BIRTHDAY: STANTON WARRIORS – Saturday 29, Barsoma LAIDBACK LUKE – Saturday 29, Platinum GENERIC COLLECTIVE – Sunday 30, Titanium REGGAE FOR RECOVERY: MARY J BLIGE, JIMMY CLIFF, MAXI PRIEST, SEAN PAUL – Sunday 30, Brisbane Riverstage FEBRUARY BEC LAUGHTON FILM CLIP LAUNCH– Wednesday 2, Limes Rooftop Bar FOALS – Wednesday 2, Great Northern Hotel GARETH EMERY – Friday 4, Platinum MINK – Friday 4, Electric Playground CUT COPY DJS – Friday 4, Bowler Bar ST JEROME’S LANEWAY FESTIVAL: CUT COPY, DEERHUNTER, HOLY FUCK, PVT, TWO DOOR CINEMA CLUB, YEASAYER, THE HOLIDAYS, WARPAINT AND MORE – Friday 4, Alexandria Street, Fortitude Valley OFFICIAL LANEWAY AFTERPARTY: HOLY FUCK DJS, CHK CHK CHK DJS – Friday 4, Woodland Bar BOMBS AWAY– Saturday 5, Electric Playground FERRY CORSTEN – Saturday 5, Family MOWGLI – Saturday 5, Platinum THE BOOKS – Saturday 5, The Zoo NONSENSE: VINCENZO – Saturday 5, Barsoma FLOAT ON: CUSTARD, REGURGITATOR, SCREAMFEEDER, KATE MILLER-HEIDKE, HUNGRY KIDS OF HUNGARY, GENTLE BEN & HIS SENSITIVE SIDE, LITTLE SCOUT – Sunday 6, The Hi-Fi TOM PIPER, GOODWILL – Friday 11, The Met HOOK N SLING– Friday 11, Electric Playground PURPLE SNEAKERS DJS – Saturday 12, Never Land Bar ULTERIOR: CHARLIE MAY, PQM, KASEY TAYLOR – Saturday 12, Barsoma FOUR TET, CARIBOU – Tuesday 15, The Zoo

THE READERS OF Mixmag have voted Tiësto the Greatest DJ Of All Time in a recent survey, because clearly a 41-year-old trance DJ currently describing his sound as “trouse” is to be admired. Richie Hawtin and Sven Väth joined him on the podium... UK INDIETECHNO boffins Simian Mobile Disco have returned the favour to Beth Ditto after the Gossip vocalist appeared on their 2009 track Cruel Intentions by producing her four-track solo EP which drops through Deconst ruct ion/Sony digitally Tuesday 8 March... THE MAN BEHIND Borat and Brüno, Sacha Baron Cohen, is set to star in a Hollywood adaptation of Zabibah And The King, a novel reportedly written by Saddam Hussein. The fi lm, retitled The Dictator, tells the story of a wise Iraqi leader who falls in love with a humble peasant girl. It hits cinemas May 2012... BELOVED OF THE blogosphere in 2010 off the back of her debut single release Swimming Pool, 23-year-old Sydneysider Catcall is sure to attract plenty more love with a select ion of remixes of the same song out now through Ivy League. The remix package features takes from Cloud Control, The Emergency and GLOVES among others, and precedes her album The Warmest Place due out later this year... ADELAIDE BEER BARONS Cooper’s are touting a DIY Beer Kit as the way to your man/woman’s heart this Valentine’s Day, God bless them...



In the wake of the disast rous floods, Brisbane’s Ragamuffin 2011 have changed their name and motive – a charity event now known as Reggae For Recovery. The concert will be a flood relief benefit with all profits going to the Premier’s Flood Relief Appeal. The event has also moved from Pine Rivers to Brisbane Riverstage in the City Botanic Gardens on Sunday 30 January due to water damage. All tickets have been reduced to $99 to see an enormous line-up that includes Mary J Blige, Jimmy Cliff, Maxi Priest, Sean Paul and more. Tix on sale now via Ticketmaster.


Barsoma in Fortitude Valley was thankfully unaffected by the horrific floods this month. They’re counting their lucky stars by giving some good karma to those that need it most, by putting on a Flood Relief event on Friday 28 January with all proceeds going to the flood vict ims of Queensland. Featuring Rikki Newton, Alex James, Jason Rouse, Scott Walker, Damien Wheeler, Keiron C and a host of other Brisbane DJs alongside special guest Kazu Kimura, it’s a good night for a good cause. $10 on the door from 9pm.


The Hi-Fi and Mucho Bravado are host ing their own flood relief benefit on Sunday 6 February. Coined Float On, the gig features some huge names in Aust ralian music, including a reunited Custard, Regurgitator, Screamfeeder, Kate Miller-Heidke, Hungry Kids of Hungary, Gentle

Ben & His Sensitive Side and Little Scout. Tickets are a measly $35, all of which goes to the Premier’s Flood Relief Appeal and are on sale now from au. And a second night has just been added for Monday 7 February, featuring Regurgitator, The John Steel Singers, Ball Park Music and Numbers Radio.


Club brand Ulterior is all about good times and honest dance music, without the transparency and tomfoolery that is attached to quite a few club nights around Aust ralia. They’ve put together a whopping day/night event at Barsoma on Saturday February 12, with three unique “phases” from the club to the courtyard starting at 1pm to 5am the following morning. Featuring prog triumverate Charlie May (live), Kasey Taylor and PQM performing alongside a raft of locals, entry is just $10 on the door.


The Bowler Bar and

Happy Endings are host ing an Aust ralia Day party fit for any beer-swilling Aussie worth his weight in “gooooooood times”. The celebrations kick off at midday Wednesday 26 January (of course), with a swag of bands, booze, DJs, lawn bowls, pools and a BBQ – featuring ’96 Bulls, Mitzi (live), Dream State (live), O-H, Knickers, Tight Lips, Rhys and Royale. They’ve rounded it all off with a Triple J Hottest 100 countdown, too. Tix are $25 on the door.


With some of the finest international artists in the country for Laneway Fest ival in the coming weeks, the announcement for the official afterparty has been set in concrete. It’s to be held at Woodland with DJs reps from Holy Fuck, !!!, Expensive Shit and Levins manning the decks on Friday 4 February. Make sure you purchase your tickets from Moshtix now ($10 with a Laneway wristband, $15 sans-wrist ie) as this is sure to sell out.






We’re a mere month into 2011 and Auditree have already presented Tensnake, and now, they’re bringing the sounds of Ewan Pearson to the Brisbane masses. It’s impossible to sum up Pearson’s career in a paragraph – he’s worked with Goldfrapp and Gwen Stefani, produced for The Rapture, M83 and Delphic’s Acolyte. He’s also a columnist for Germany’s Groove Magazine, a musician in his own right and – as if that’s not enough – is a damn slick DJ. He’s playing at Barsoma Saturday 26 February. Presale tix are over at Moshtix. Just go see him, seriously.


Breaks & Enter are celebrating their fourth birthday with, well, some damn fine breaks – that’s what! The B&E crew are host ing UK’s Stanton Warriors – arguably the biggest name in breakbeat over the past handful of years – at Barsoma on Saturday 29 Jauary, with supports from Sangers & Ra, Datadex, Just Iyan, Chris Kelly, YumCha, Irikanji, Dastardly Kits, Kitch and Kid Midnyte. Tix are on sale now through Moshtix.


Described by ABC Radio’s Richard Fidler as a “powerhouse voice”, Aussie singer/songwriter extraordinaire Bec Laughton invites you to the fi lm clip launch for her recent hip hop/soulinfluenced release, Loop De Loop. The track is taken from her debut EP At First Sight and has been through the hands of Anthony Lycenko at 301 Recording st udios, so y’know it’s good. If you like music that crosses


cultural barriers and visual creativity then go to Limes Rooftop Bar, Fortitude Valley on Wednesday 2 February at 7pm


Total Stranger’s quite the reclusive producer – no image of the artist adorns the press release for his latest EP, Burning Sockets, on fledgling local elect ronica imprint Ender. Nor does one exist on the interwebs. Simple cover art leaves the listener to observe Total Stranger’s music without preconceptions. The swirling, reverbed synths and punching drum-line of this EP will take you on a journey far beyond what the producer imagined – or did he? Whether it’s a marketing ploy or Total Stranger is a real-deal hermit, you should check out his tunes at www.ender.


Ok, so you probably already know about the Cut Copy Zonoscope album leak, which means you’ve most likely already heard the thing. Which means

you know how damn good Cut Copy are, whether it be live on-stage or spinning wax into the wee hours. Dan & Tim from Cut Copy will be doing the latter at The Bowler Bar on Friday 4 February, in celebration of the “real” release of their new album. They’re supported by Nile Delta and Foals (DJ Set) on the night, with tickets available from Moshtix for $15.


Interested in the art of Burlesque AND beauty classes? We-he-hell, you best sign yourself up to the Bombshell Burlesque and Beauty Academy 2011. The Academy has been running successfully for almost a year now, and they’re opening branches in Byron Bay and the Gold Coast very soon. There’s a shite-load of different classes on offer (classic, cabaret, vintage, showgirl) and they start the fi rst week of February at The Old Museum in Bowen Hills. Hit up www.laviolavixen. com for more info and ticket prices.

A NEW ALBUM of elect ronica from kooky fi lm director David Lynch just gets curiouser and curiouser with the announcement of two vinyl packages for the lead tracks. Good Day Today features Underworld and Boys Noize on the remix tip, while Sasha and Jon Hopkins have a crack at I Know, with Basement Jaxx and Skream to feature on future instalments... WHEN YOU CONSIDER that Jersey Shore’s Snooki seems to st ruggle to put together a cohesive sentence, it’s somewhat surprising that the party girl’s debut novel A Shore Thing has made The New York Times’ Best Sellers list… POLICE NABBED 40 party goers for drug possession at Victoria’s Hot Barbeque fest ival on the weekend, with one of the alleged possessors being minor celebrity Tottie Goldsmith. Celebrities do drugs? At music fest ivals? No way… SYDNEY-BASED PRODUCER Peter Radovanovic is back in the game with the launch of new label Devious Devices. He’s followed up the November vinyl release of the Ghetto Blaster Outbreak six-tracker with the four-track Superduty effort, with plenty more to follow… THEY’VE LONG CROSSED the st reams of prog/ trance, but US producers Tritonal reach even further on debut long-player Piercing The Quiet. The result of two years of intensive st udio work is coming soon through Enahnced, preceded by the fi rst single Lifted Monday 14 February with Mat Zo remix…


LAMB – Friday 18, The Hi-Fi BUTCH – Friday 18, Monastery GOOD VIBRATIONS FESTIVAL: SASHA, RUSKO, ERYKAH BADU, KOOLISM, KELIS, NAS, DAMIAN MARLEY AND MORE – Saturday 19, Gold Coast Parklands TOM PIPER, GOODWILL – Saturday 19, Platinum INCOGNITO RIVER CRUISE: DIXON – Sunday 20, Brett Wharf ’s Pier TRICKY – Sunday 20, The Zoo TORO Y MOI, CHAZ BUNDICK – Thursday 24, Woodland EWAN PEARSON – Saturday 26, Barsoma RIHANNA, CALVIN HARRIS, FAR EAST MOVEMENT – Friday 25, Brisbane Entertainment Centre MARCH KE$HA – Thursday 3, Brisbane Riverstage PURPLE SNEAKERS DJS – Thursday 3, Alhambra THE CHEMICAL BROTHERS, ART VS SCIENCE, ZANE LOWE, DJ JAMES HOLROYD – Friday 4, Brisbane Riverstage FUTURE MUSIC FESTIVAL: THE CHEMICAL BROTHERS, PENDULUM, DIZZEE RASCAL, MARK RONSON & THE BUSINESS INTL, LEFTFIELD, PLASTIKMAN AND MORE – Saturday 5, Doomben Racecourse PURPLE SNEAKERS DJS – Saturday 5, Family OS MUTANTES – Tuesday 8, The Tivoli MOUNT KIMBIE, SEEKAE – Friday 11, Barsoma AFRO CELT SOUND SYSTEM – Tuesday 15, Hi-Fi Bar BASSNECTAR – Thursday 17, Barsoma USHER, TREY SONGZ – Saturday 26, Brisbane Entertainment Centre APRIL JUSTIN BIEBER – Tuesday 26, Brisbane Entertainment Centre BYRON BLUESFEST: MICHAEL FRANTI & SPEARHEAD, BEN HARPER AND RELENTLESS7, JOHN LEGEND, THE CAT EMPIRE, TRINITY ROOTS AND MORE – Thursday 21 – Monday 25 April, Byron CHRIS BROWN – Friday 29, Brisbane Entertainment Centre MAY URBAN COUNTRY 2011: THE POTBELLEEZ, AMY MEREDITH – Sunday 1, Alexander Barr Sporting Complex





T’S EASY TO OVERLOOK THE ACCOMPLISHMENTS OF KIERAN HEBDEN  ESPECIALLY WHEN LISTENING TO HIS MUSIC. INNOVATIVE, ECLECTIC AND COMPLEX, HEBDEN’S VISIONARY WORK OVER THE PAST 15 YEARS HAS NEVERTHELESS CONSISTENTLY ARRIVED WITH EDGES TEMPERED BY EVOCATIVE AIRS OF FAMILIARITY, INTIMACY AND NOSTALGIA. WHETHER IT’S THROUGH HIS FOUR TET ALIAS, HIS WORK IN POSTROCKERS FRIDGE OR HIS OUTINGS UNDER HIS GIVEN NAME, HEBDEN HAS ALWAYS SOMEHOW MANAGED TO OBSCURE THE FLAIR OF HIS OWN ICONOCLASM. “You know, a lot of the music I like is very experimental. I really tend to admire people who are trying to do something different and trying to push our perceptions of music in new ways,” the producer explains. “But, for me, the absolute grail has always been when people manage to make music that is quite experimental that also manages to touch people in a really human sort of way. Th at’s the kind of music that changes things. It’s incredibly powerful.” Th is is not necessarily a bad thing. One could even argue its one of Hebden’s key st rengths. While the majority of techniques and influences showcased by the producer’s abst racted, sample-heavy, laptop deconst ruct ions would tend to presuppose a musical dialect as cold as it is futurist ic, Hebden’s work has always sounded warm, spontaneous and reflect ive. There’s a sentimental expression to the producer’s work which belies the largely elect ronic nature of his output. “I think, when you use the word experimental, people often instantly just think of, I don’t know, kind of atonal, skronking, weird noise. You know, someone trying to make something obviously difficult,” Hebden laughs. “I think there’s nothing more magical, though, than when someone makes something that is truly experimental and truly kind of natural and human at the same time. Something like Aphex Twin’s Windowlicker, for example.” It’s important to acknowledge, though, that beyond the dist ract ing warmth of Hebden’s product ions stands an artist of remarkable accomplishment. Speaking purely from an artist ic standpoint, Hebden’s work over the past ten years has arguably done more to redefine the limitations of elect ronic music than perhaps that of any other individual – the producer reshaping and extending different genre boundaries with each and every release. Originally a guitarist with post-rock trio Fridge, Hebden’s debut as Four Tet – 1998’s Thirtysixtwentyfive single – was an invest igation into free jazz. Since that point, the producer has successfully dabbled with folk, techno, hip hop, world music and countless other genres. A number of collaborative projects with legendary jazz drummer Steve Reid introduced Hebden to free-improvisation, while 2010 saw the release of a collaborative EP with dubstep wunderkind Burial. “Four Tet was supposed to just be one single initially. It was supposed to be really low-key but it turned into this big long-term project really quickly,” Hebden laughs. “I didn’t intend on doing any album at all initially – but the fi rst 12-inch went so well and there was a lot of enthusiasm for me to do more after that. Next thing I knew, it had become my main focus. I don’t think I even realised what I was doing with it at the beginning.” Each release has showcased a markedly different direct ion for Hebden’s work. 1999’s debut album Dialogue was jazz-flavoured chill-out, 2003 breakthrough release Rounds arrived heavily indebted to folk, post-rock and glitch, 2005’s Everything Ecstatic showcased a pronounced fascination with austere rhythms of kosmische and 2008’s Ringer EP was pure, shimmering techno. And 2010’s There Is Love In You – Hebden’s most recent album release – was glitched-out, percussive tribal house. “I think it’s always a bit weird, listening back to one’s old records. For me, they’re almost like diaries or something,” the producer reflects. “I play one of the old records and st raight away all I’m thinking about is what was happening to me at the time, what I was thinking about when I made them or what I was trying to do. I imagine I’d have a completely different interpretation of each of them compared to most people. “I’ve put a lot of effort into making sure the Four Tet name isn’t limiting. It can be anything I want it to be,” Hebden explains. “It started out as quite a free jazz influenced project and I’ve managed to make everything from kind-of-techno to sort-of-folk music under that name over the years. I’ve spent a lot of time making sure it’s quite eclect ic and I think, at this point, I could make any kind of record I wanted to under Four Tet.


“I’VE PUT A LOT OF EFFORT INTO MAKING SURE THE FOUR TET NAME ISN’T LIMITING. IT CAN BE ANYTHING I WANT IT TO BE...” “You know, I’m not the sort of person that has a main thing going on and then I dart off to the side to do different things as side-projects or whatever,” the producer clarifies. “Each thing I do is like the next step in what I’m doing rather than some sort of side step. Each thing I do is just the next step – whether that’s playing with other musicians, remixing other artists or playing DJ gigs. I just want it to be some kind of continuous musical evolution.” It is through this steady evolution that Hebden has secured an audience far beyond that of elect ronic music listeners. Four Tet remixes have been commissioned by Radiohead, Aphex Twin, Bloc Party, Black Sabbath, Explosions In The Sky and countless others, while Four Tet originals have soundtracked everything from Nike commercials to Bond fi lms. “To be honest, I don’t think about that too much,” Hebden says. “My favourite situation is when I don’t really know what the plan for the future is. I find it really, really exciting when I’ve got the sense that I have no idea what’s going to be happening to me in six months’ to a year’s time – what countries I’m going to be travelling to, what kind of music I’ll be making. For me, I like to have that sense that things could possibly happen rather than having everything mapped out for two years. “I feel like a lot of new musicians and bands are a lot more careerist about their music these days. I keep encountering people who are putting out records as part of some long-term plan for their life and, I don’t know, that bugs me a little,” the producer opines. “I feel like people need to follow the path of the act ual music a bit more rather than the path of the career and the schedule and that whole thing.” Ironically, however, Hebden’s greatest accomplishment is a direct result of his innate knack for obscuring his own ability. The past ten years has given rise to an influx of elect ronic artists devoted to fusing the innovation and sophist ication of elect ronic music with the spontaneity and soul of more innately human genres like soul, jazz or hip hop – from near-legendary figures like Flying Lotus to rising stars like Gold Panda – and Hebden is arguably responsible for the lot of it. “I’m of two minds about it, really,” Hebden reflects of his contribution – seemingly wary of accepting the title. “It’s flattering for people to see what I do as pioneering in any way but that st uff can also often be put down to lazy journalism. I think time will tell who the true pioneers are and aren’t, if you know what I mean. It obviously feels nice, though. To be classed as someone that influential? It’s really quite flattering.” WHO: Four Tet WHERE & WHEN: The Zoo (Brisbane) Tuesday 15 February, The Hi-Fi (Melbourne)

Wednesday 16 February, Metro Theatre (Sydney) Thursday 17 February, Playground Weekender Friday 18 February



OSTENSIBLY A LEFTFIELD DANCE MUSIC PRODUCER, KIERAN HEBDEN HAS GONE WELL OUTSIDE THE BOUNDARIES OF THAT DEFINITION ON MULTIPLE OCCASIONS. HERE ARE THREE OF THE WORST  OR BEST  OFFENDERS. FOUR TET Thirtysixtwentyfive (Output), 1998. The very fi rst release to bear the Four Tet name, Thirtysixtwentyfive contains one piece of music which st retches over 36 minutes and 25 seconds. While intended by Hebden to be something of a free jazz release, the single act ually acts as something of a st ylist ic microcosm for the rest of Hebden’s career. Over the course of the track’s epic running time, one can detect aspects of jazz, folk, ambient music, plunderphonics, dance music and post-rock. It act ually lends Hebden’s entire career a rather interest ing sense of perspect ive. KIERAN HEBDEN & STEVE REID NYC (Domino), 2008. The fourth album to emerge from Hebden’s surprising creative partnership with jazz drummer (and, bizarrely, Supertramp member) Steve Reid, NYC is arguably the densest and most impenetrable album Hebden has ever put his name to – abst ract sampledelica bust ling with fragmented inst rumentation and found sounds. Fortunately, Steve Reid’s imminently funky and utterly hypnotic percussion provide an entry point into the cacophony. ONE LITTLE PLANE Until (Text Records), 2008. One of the most infrequently recognised collaborations of Hebden’s career, One Little Plane is the chief alias of folk singer Kathryn Bint and, on debut album Until, her songs are supported almost entirely by Four Tet’s product ion work. Bint’s songwriting is occasionally somewhat indist inct but, throughout the record, Hebden’s percolating, multi-layered product ions are a joy and enough to make one wish he explored pop songwriting more often. As an interest ing aside, Until bears all the hallmarks of the now-popular chillwave genre – though it was released a year before the st yle infi ltrated popular culture. 18 3DWORLD




WHEN RIP NICHOLSON FINALLY PINS DOWN THE ELUSIVE MC BORN NASIR BIN OLU DARA JONES BUT BETTER KNOWN FOR HIS INCENDIARY WORK AS NAS, THEY DISCUSS HIS LEGACY AND THE JOURNEY HE TOOK WITH DAMIAN MARLEY ON A PILGRIMAGE TO JAMAICA WHILE MAKING THE COLLABORATIVE ALBUM WHICH TREKS THE ROOTS OF MUSIC AND LIFE ITSELF. Nasir bin Olu Dara Jones was discovered in 1991 by MC Serch (3rd Bass) and released Illmatic in 1994 – his debut album, which in time would become heralded the Greatest Of All Time. Twenty years on and Jones is always found in further discovery of his cultural roots – roots that led him out to Jamaica and the Kingston yards that exported the godfather Kool Herc and the late reggae icon Bob Marley. In 2005 Nas and Damian Marley threaded their fibrous genes on the Road To Zion record for threetime Grammy winner Marley’s third LP Welcome To Jamrock – a hybrid st rain of new era Trenchtown reggae and hip hop. A journey to rekindling that fi re culminated in the long-awaited and much-speculated 2010 long-player Distant Relatives, a QB-meets-Jamrock polymer so well-spun it bonds together the origins of hip hop and its culture in perfect transfer. Where Hip Hop Is Dead’s title track paid homage to the fi rst record spun at a Kool Herc jam, Escobar Caeser has returned to reinforce the cultural bindings of hip hop once again. AFTER ROAD TO ZION CAME OUT, WAS THE REACTION TO MAKE AN ALBUM TOGETHER? “I think it was we just liked each other’s work and we wanted to do a record. Th is is some time later, it wasn’t right then like ‘I wanna do a record’. It was an evolving process and later we got together to do the record.” HOW WAS IT TRAVELLING BACK WITH DAMIAN TO HIS HOMETOWN? DID YOU GET THE MARLEY FAMILY EXPERIENCE, MEET EVERYONE, LEARN THE HISTORY OF REGGAE? “Yeah, I learned a whole lot. I learned a whole lot about Bob and what his life was like in Jamaica and growing up in Trenchtown. I’ve been to the house where he lived and recorded music and you know, got to experience what Kingston, Jamaica is like. And the culture. I got a chance to see some of Bob Marley’s belongings in a museum and his guitar, his clothes, where he slept. He was just a great story that some of the family members would tell about their father and the huge impact he had worldwide, coming from a small island, you know?” IS THEIR MUCH HISTORY IN KINGSTON OF KOOL HERC AND THE YARD PARTIES AND TOASTING THAT BROUGHT ABOUT THE FIRST STEPS OF HIP HOP? “We talked about the connect ion, and while working on the project it’s very interesting that the godfather of hip hop is a Jamaican who came to New York City. There was a lot of talk about that and I found that a really beautiful part of the connect ion between hip hop and reggae. And it was one of the great reasons we felt good about doing this album basically.” MOST OF YOUR RECORDS ARE BLACK HISTORY MONTH – AS WELL IT SHOULD BE, A TOOL OF EDUCATION – HOW FAR OFF ARE SOME OF THE TEACHINGS YOU RAP ON DISTANT RELATIVES TO BEING CLASSROOM LITERATURE? “I think it’s a part of something bigger, I think it may be helpful in some ways but it’s coming from a dude that’s from the st reet, it’s coming from a dude who has his own opinion also. So I’m not the best teacher, I can’t even say I’m that good of a teacher. I just say what I feel – based on facts but st ill my opinion of the matter is st ill woven in there. So I think it’s a cool beginning to a lesson, but it’s not everything that they need, it’s just the beginning.” ON HIP HOP IS DEAD YOU USED APACHE BY THE INCREDIBLE BONGO BAND TO BREAK DOWN THE ART TO ITS FIRST STEPS. WITH DISTANT RELATIVES YOU BLENDED REGGAE AND THE AFRO-CENTRIC SUBJECTS – WAS THIS ANOTHER WAY OF PAYING HOMAGE TO THE ROOTS OF HIP HOP? “I’m always trying to do that with my records. But also it was me doing something more leftfield of the st raight-up expected hip hop album. But most ly Distant Relatives was just digging into the roots of myself.”

WILL WE SEE YOUR BAND MULATTO OR DAMIAN’S REGGAE BAND? “We’re most ly working with Damian’s band or when we tour together, his band takes care of everything. Mulatto’s more of a band that can play anything and any kind of music but I think they’re better if they’re just with me on my solo shows. I think we have a different chemist ry together. So it should be Damian’s band, yeah.” YOU PERFORMED AC/DC’S BACK IN BLACK ON LOPEZ – NO-ONE SINCE KRS-ONE HAS TOUCHED THAT ROCK RECORD. NAS DOING AC/DC ON AUSTRALIAN TOUR, THAT SONG IS AN ANTHEM HERE. YOU KNOW WHAT THAT WOULD DO TO CROWDS DOWN HERE? “(Laughs) No I didn’t really think about that. Th is was a record for Carlos Santana but maybe I can do that. I love the original record and I love what me and Carlos did with it. So, that could be cool.” WILL WE GET ANY ILLMATIC CLASSICS, ANY JAMROCK JOINTS FROM D ON YOUR AUSTRALIAN SHOWS? “Oh yeah, we do our thing! We do everything. Me and D we do our thing, yes. We do our album together, we do solo records, we just make it a party on stage.”



asir Jones has never minced his words in either print or digital wax through his career and in recent years QB’s finest has pushed the envelope right to the brink. On his eighth album, the st reet-st rong Hip Hop Is Dead, Jones addressed the issue of a power-shift between artist and indust ry in no uncertain terms. Eighteen months on and censorship was addressed when Jones dropped the N-bomb, his ninth album – the racially and politically confronting Untitled – displaying Nas on the cover, his back whipped like a slave. Tracks like Sly Fox and Untitled made this album the most black-fisted effort since Public Enemy’s Fear Of A Black Planet. Before release, Nigger was scratched from the header and left blank forever, thanks in huge part to the demands of retail goliaths Wal-Mart. Recently he aired out his gripes in an open letter to his Def Jam executives. Jones expressed dist rust and dissatisfact ion with how his last two LPs were dealt and went right for the jugulars of those he believes responsible. WHAT’S THE SITUATION NOW FOR NAS AND DEF JAM RECORDINGS? “The situation is always changing as the record business is. We’re changing the infrast ruct ure and the executives I have in place, the artists on which label they remain on. And that continues to be a ‘for me to know and for the record company to know’. Right now I just started my next album.” YOUR LAST SOLO ALBUM WENT OUT UNTITLED, WILL THE LOST TAPES II BE COMPROMISED? “I dunno, that’s interest ing. The last record was very controversial and very confrontational and political and a lot of major stores was scared to put it in their stores. At fi rst they were very scared. I had a different message, different feelings to express during the time. Th is new record is obviously really to express where I’m at today. So this will be something a whole lot different than the last record. It’s started now and it’s hard to stop so I’m excited about this one and I have a feeling this one will be left alone. Lost Tapes will be in stores or on iTunes this year. So I advise people to just stay tuned for what happens and hopefully everything that happens, happens smoothly.” THE LOST TAPES II WILL BE YOUR TENTH SOLO LP. COULD THIS BE THE DEFINITIVE ONE FOR YOUR CAREER? AND WILL YOU KEEP THEM COMING? “Yeah I have more records to make – a lot more records to make.” WHO:

Nas & Damian Marley WHERE & WHEN: Good Vibrations Fest ival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coast Parklands Saturday 19 February



amian Lazarus is one of the global electronic music industry’s most curious and (at times) confounding creatures. A man on the bleeding edge of all things sound, he seems to juggle many responsibilities with an effortlessness many politicians would do well to note. Reared on soul, funk, hip hop and electro in his teens, his tastes soon progressed into house, hardcore and jungle, thus cementing a long-term love affair with seemingly any tasteful groove-laden music. Soon after landing a job as Music Editor, then Assistant Editor for UK dance rag Dazed & Confused, Lazarus found himself in a prime A&R role for London Records sub-label City Rockers. As a subsequent prime-mover behind the electroclash fad of 2001, Lazarus has been exposed to the extreme yo-yo antics of an industry captive to trends and rapid consumerist fluct uation. Even his most recent label Crosstown Rebels found itself in dire st raits during the collapse of Amato Dist ribution, though it thankfully escaped the grave. Whilst earlier Crosstown Rebels releases reveal an especially product ive – and in some cases groundbreaking – product ion schedule, it has really gone from st rength to st rength in the years since its 2008 re-founding. Lazarus had an especially busy 2010 with the label pumping out an almost endless st ream of brilliance that artists from Art Department to Laurent Garnier can claim credit for, the latter who kicking off CR’s 2010 campaign with the inescapable It’s Just Muzik. “Laurent [and I] have known each other for a number of years and I think the idea started when we found ourselves on a plane together sharing a ride into New York,” Lazarus reminisces. “He interviewed me there and then in the back of a limo for his radio show in France; it was really spontaneous so I kind of hit him back with spontaneously asking him to make a record for us. He said he would … true to his word he passed me this track It’s Just Muzik a little while ago and it took my head off so I thought we had to sign it. Then I had to ask him to make something a little deeper for the B-side and he came up with Stargazing. It turned into a really great 12-inch and I’m really grateful he did that with us.”

The globetrotting jock commonly finds himself in good company and even better surrounds, having most recently taken time out between gigs in South America to visit Machu Picchu. It’s a good thing he has too, as the resultant spiritual balance should see him through a release schedule for Crosstown Rebels which will in 2011 birth fresh albums from Deniz Kurtel, Art Department and Visionquest, plus a sophomore effort from Jamie Jones. “I have a really great team of people that work with me at Crosstown and while in my head there is a lot of st uff to be figured out and decided on – whilst it is super busy for me – I can have other people doing the hard work on a daily basis and that does free up some hours for me during the day,” he explains. “It is difficult to balance a life outside of music with the amount of work I do but I make it happen.” As with CR, his product ion efforts have been largely collaborative. His 2009 opus Smoke The

Monster Out was both written and produced with the assistance of Arthur Jeffes and Luke Solomon, whilst the 2010 dancefloor Club Versions adaptation was done in conjunct ion with Apendics Shuffle. The latter emerged after Lazarus decided he needed a way to bring the largely downtempo material of STMO to the floor, where – in his opinion – it worked to great effect. Having long since fi nished with the project, Lazarus is onto producing fresh material and flying solo. “Since then I’ve been working completely on my own product ion wise… holed up on my own trying to make shit happen,” he says wryly. His fi rst solo single, Different Now, is scheduled for release on Crosstown Rebels in March or April and will doubtless be followed by some of the material in the works, of which he says: “I’m not ready yet to play to anyone but am going to spend the year trying to make it special”. In the meanwhile, his reasonably recent mix for London club inst itution Fabric provides an apt snapshot of what to expect from his DJ sets. Fabric 54 is typically Lazarus: dark, twisted, groovy and effortless, but with a slight tongue in cheek twist. “[It took me] a good four to fi ve months, dreaming up ideas – from the moment they asked me to do it and signed the deal I st arted making notes immediately and just worked up to various deadlines in my mind and official ones they’d given me,” he recounts. “I put in a couple of weeks in my diary where it was at the top of my list every day to make sure that I was on it and thinking about it. I made all these playlist s and notes, checking how

things sounded bit by bit. It’s not really until the end when I fi nally sit back and listen to the whole thing that I really get a good idea of where it’s going. “Being asked to do the Fabric mix is an honour and going there is all about playing a wicked club set. I have Lazpod as an outlet to experiment with all other st yles of music and for Fabric I wanted to represent what I do in the club. That was the direct ion I wanted to go in but I also realised that I wanted to put in a little bit of all my other angles – the last 20 minutes go really deep, weird and twisted and I think that hints at the other work that I do.” WHO: Damian Lazarus WHAT: Fabric 54 (Fabric/Balance Music/EMI)





n one of music history’s curious quirks, British duo Leftfield decided to end their partnership in 2001, exact ly a decade ago. Th roughout that time, and with only two albums ever released, their name has remained as revered as ever. They are one of the greatest dance acts of all time, and their debut, Leftism, is often regarded the best dance music artist album of all time. Their sound revolutionised dance music in the early 90s and they are regarded as pioneers, whether it be for one of progressive house’s earliest incarnations (1991’s Not Forgotten), collaboration with Sex Pistol John Lydon (Open Up) or extraordinary remixes (David Bowie and Aust ralia’s own Yothu Yindi). Neil Barnes and Paul Daley spent 1990-1993 consistently hailed as deities by the music press and clubbers alike. Spending 1994 crafting their debut album saw the duo curiously quiet, until the album’s release in early 1995. It exploded onto the global scene in an unprecedented fashion. For Leftism, Leftfield dug into the melting pot of British urban music influences (dub, elect ro, hip hop, reggae, techno, house, drum‘n’bass) and produced liquid gold, all with the bass turned up to eleven. It’s as if the album is alive. Given the plaudits that had been bestowed upon 1995’s Leftism and the four year incubation period of sophomore album Rhythm And Stealth, there was a natural result of frict ion between the duo. “It’s the pressure that broke us up really,” Barnes observes. “We nearly went mad making that record. The intensity was ridiculous. We should have had someone there guiding us through it. You lose track of things if you’re not careful, and that’s really what happened – we sort of threw Leftfield away because we’d worked so hard on it. It’s great to have the chance to revive some element of it because it ended before its time really.” The revival Barnes speaks of is Leftfield’s impending Aust ralian tour for the Future Music Fest ival. Th is is Leftfield’s first ever


tour of Aust ralia, meaning anticipation is high from new fans plus those old school fans who missed out the first time. Sadly, a decade on, the frict ion remains between the duo, and it is only Barnes embarking upon the tour along with a cast of musicians. “It started with some promoters coming to both me and Paul,” Barnes explains. “They said there was real interest out there in us doing live gigs. I was up for doing it, but Paul really didn’t want to be involved. I had the choice of doing it myself, and everyone thought I should do that.” The Leftfield live show has so far hit Britain and Europe in 2011 to massive success. Their earlier series of concerts to tour Leftism in the mid-90s were so loud that at their Brixton Academy gig, plaster fell from the ceiling. The tour was very quickly dubbed the loudest live show ever. So has Neil been able to get back into the saddle given the decade long hiatus? “In act ual fact, I’m someone who enjoys being on stage,” Barnes admits. “I do act ually come alive on stage. Before Leftfield I’ve done an awful lot of live music. As soon as I was up there [on the recent tour], within 10 minutes I felt completely relaxed. Now and again I have my nervous moments. Strange things happen on stage, you get in your own world. Recently I forgot what the next track was!” Part of the agreement between Daley and Barnes involves minimal changes to the original tracks and not introducing any new tracks. “I’ve gone back to the original songs for some of them,” Barnes mentions, “and then for others I’ve gone on a bit of a journey. The whole set is a journey in itself, it takes you through Leftfield. Unfortunately on this one I’m not doing the earliest tracks. I’m not doing Not Forgotten. I’m mainly doing tracks off Leftism and Rhythm And Stealth. I’m just going to do what we do and hopefully you’ll love it. We don’t do a set at 100 miles an hour, people who know Leftfield expect that.” The react ions in Europe so far have been

favourable, with Barnes and his five band members tearing apart Creamfields, Ireland’s Elect ric Picnic and Spain’s Benicassim fest ival. “I didn’t expect it to go so well,” Barnes states. “Some kid came up to me not long ago and said he only listened to Rhythm And Stealth two years ago and now he’s a fan. A lot of people in their early 30s are coming who were a bit too young to see Leftfield the first time.” Barnes is st ill amazed too, at the universal appeal Leftfield’s tunes seem to enjoy, even today. “It always seems to have been there or thereabouts, as it is on the telly or in fi lm,” Barnes ventures. “It just seems to get beneath the skin of a lot of people. I can’t explain it completely, but obviously there was a lot of perfect ionism involved in the making of the records, maybe that’s what it’s about. Because we enjoyed making those albums, maybe it rubbed off.” Aust ralian audiences will be pleased to know that we may yet see some new Leftfield st udio material of sorts. Sony is planning a remix project where the newer stars of today are remixing Leftfield tracks (one example being Netsky’s remix of Release The Pressure). For Barnes himself, new material co-written with Adam Wren should see the light of day in 2011. “I’m interested in pioneering music,” Barnes says simply. “I get a big buzz from new music, particularly. I’m into a lot of elect ronic music being made. If I was to pick an area I’m keen on, it’s the sort of dubstep direct ion, I think is the most original thing recently. Although there’s some really interest ing things happening in techno coming out of Berlin that is really twisted – I like that. I find if it’s just following fashion though, I lose interest.” WHO: Leftfield WHERE & WHEN: Future Music Fest ival at Doomben Racecourse (Brisbane) Saturday 5 March, Randwick Racecourse (Sydney) Saturday 12 March, Flemington Racecourse (Melbourne) Sunday 13 March




rags to riches tale lies behind the success of the indust ry’s latest dance music star Wynter Gordon (born Diana Gordon). One of seven children growing up in a poor household in Queens, how she came to be the seduct ive songst ress of hit tune Dirty Talk is somewhat ironic and perhaps a touch react ionary. All the Gordon children sang, but at the behest of their st rict mother and step father, they only sang about Jesus. “My sisters and brothers all sang. We were like The Jackson 5. We used to sing in church and my parents would make us sing gospel songs on the corner with boom boxes. It was so mortifying ‘cause all our friends would pass by and we would be like,” she closes her eyes, raises her hands and softly croons “Jeeesuus”. Gordon’s upbringing is recalled as though it may have been tumultuous. Her parents were st rict and she wasn’t close to them but it became a driving force to “get out”. “My mum married a guy when I was five but we just never had a relationship and if I think about it I’ve known him my entire life and I don’t even know where he’s from. My mum let him discipline us, like, with a belt, and it’s like having someone you don’t really know hitting you. For me it made me more independent because I was the middle child and it made me just want to get out of the house and do something with my life. Just find a way out.” Her way out opened up when she was accepted into LaGuardia High School, a performing arts school in Manhattan. After graduating she knuckled down to focus on her music, working several menial jobs to support herself before her major breakthrough Gonna Breakthrough touched Mary J Blige so much so that she used

it as the title track for her 2005 album The Breakthrough. From impressing a soulst ress such as Blige to making dance hits with David Guetta a kind of crossing over took place because, as Gordon points out, she didn’t exact ly have much exposure to the genre during her childhood. “I really wasn’t allowed to listen to secular music, anything that wasn’t gospel. So I would sneak in tapes and when my parents weren’t home I would record off the radio and it was whatever I could get in a little period of time would be my tapes. When my parents came home I would go into my room and put my headphones on, one ear off, one ear on. It was like *NSYNC and Britney and I always loved Celine Dion, it was Celine all the way. I was never really buying albums, it was more whatever came on the radio and Celine seemed to come on a lot, so that’s what I listened to. “In the last few years I was sent to Europe to work with different producers and just listening to the genre and getting to know the different parts of it, it just kind of evolved through there. And the album isn’t just mainst ream dance, there’s some retro dance music which I work with Nick Littlemore on so it’s really that sound. And then I work with Starsmith and then David Guetta and Tom Neville and so I got a little bit from each and I just really loved it. People think that with dance music you can only really do one thing but I really was able to express myself and my thoughts and so it has depth.” Gordon’s debut album With The Music I Die has already seen Dirty Talk climb to number one on the USA’s Billboard chart as well as the ARIA chart here in Aust ralia, while Believer, produced by the Freemasons, has been catching up at breakneck speed. While both tracks tote a credible popular dance sound they do differ in content in a way that backs up Gordon’s claim that her music has depth and that she “takes people up and down”. While having written music for Mary J Blige and J Lo, Gordon prides herself on having written or co-written all of the songs on With The Music I Die – bar the one given to her by Aust ralian singer/ songwriter/DJ duo Nervo. While the beats are the result of some of dance music’s finest producers, the vocals, melodies and lyrics are her own and “depth” is very important to her. “People don’t think that a dance album can have depth to it. That’s a lot of the misconception [about dance] but when I hear MGMT or Empire Of The Sun or even David Guetta’s album, I hear that dance music can have depth.” While Gordon is happy to explore the dance genre for a while, she doesn’t rule out, well, anything really. There is no genre she is closed to, no feature she wouldn’t accept, as long as she feels it’s “quality”. And that is just her musical career, as far as her future goes there are many things she would like a taste of. “I wanna do some acting; I want to write a book. I always wanted to do comedy. This is all I want to do, I just want to entertain. And then in the end of my days I’ll be like Indiana Jones and go find some artefacts and spend my days dusting off rocks and tasting doody.” She mimes taking a small bite out of an imaginary substance and states with a scholar’s certainty that “this was a bear. A male bear.” WHO: Wynter Gordon WHAT: Dirty Talk (Warner)





ince the day he was created, Superman has been an unmovable bast ion for truth, just ice and the American way. He’s everyone’s dad when you’re five years old: statuesque; infallible; indest ruct ible. Sure, he’s had his moments behind closed doors, crying into his pillow because he just can’t save everybody or the fact that his Kryptonian sperm would almost certainly shoot through Lois like a tiny super-powered bullet, but those are not really problems anyone can relate to. Generally, the man is a rock, and rocks aren’t lovable (Pet Rocks notwithstanding). So, with the recent resurgence of the so-called multiverse (basically, an array of 52 parallel earths, allowing the writers to create several interpretations of the same character and arbitrarily reboot st uff for modern audiences) across the DC titles, it comes as little surprise that the comics giant’s powers-that-be would order a fresh take on the world’s most recognisable – and unrelatable – superhero. The result is the J Michael Straczynski-penned, Shane Davis-drawn Superman: Earth One. Unfortunately for the book – which is act ually moderately decent, albeit not fantast ic – the central point of the story has been largely missed when it’s been discussed in the media, particularly the ever-reliable online spect rum. Clark Kent’s journey from confl icted, unsure 20-yearold to confident hero-on-the-rise has been largely dismissed in favour of something far more sensationalist. “Hey guys, check it out,” says a non-descript reporter who has been made up purely for the sake of demonst rating a point. “Superman’s wearing a hoodie. And he looks sad. Th is is The Twilight Effect in… effect.” Okay, clarification time. The offending hoodie and gloomy stare that were repeatedly singled out appear on the book’s cover image, and that’s basically why everyone was getting their hair in a tizz. Yes, Clark wears the hoodie for periods in the book and every now and again throws out some sad glances, but it is hardly what you could call a severe overhaul of the character. After all, Tom Welling has been pulling that shtick for, like, ten years on Smallville. In fact, there was an episode where Clark got hopped up on red Kryptonite – which affects Kryptonians’ emotions – and went all Squishee bender in Metropolis, and several others where he was at least briefly exposed to it and unleashed his inner teenage rebellion. But no; disregard that. Th is is The Twilight Effect’s doing, apparently. A quick Google search of the term shows that there are two main things it has been used to describe: weird Scandinavian teenagers biting the shit out of each others’ necks, and the alleged increased incidence of brooding, young protagonists across the comic book medium and their fi lm adaptations, presumably as a response to the success of Edward Cullen and that delightful werewolf fellow as essential licenses to print money. At fi rst glance, you could be excused for thinking there might be something to the theory. After all, even without Clark’s impression of Anxiety Spice, teen heroes are seemingly all the rage. Marc Webb’s reboot of the Spider-Man fi lm franchise has Peter Parker cast in a light far more reminiscent of his interpretation in Marvel’s Ultimate line (parallel reboot earth, again) than his modern mainst ream counterpart; beleaguered high school st udent rather than fully-fledged adult (who st ill has tonnes of problems, by the way). The fi rst official image released of


him in the fi lm shows Parker looking battleweary: cost ume tattered, hair a mess, carrying an obviously downcast vibe. Yes, the guy playing him (Andrew Garfield) is nearly 30, but that never stopped Luke Perry from believably portraying a teenager on 90210. Right? Right. Spider-Man is not the only one getting the Fountain Of Youth treatment on the Marvel side of things, either. Set for release later this year, the Matthew Vaughn-directed X-Men: First Class takes everybody’s favourite mutants (sorry Ninja Turtles) back to school as frust rated teenagers coming to terms with their powers at a fancy private inst itution. Gone are the cocksure staff members portrayed in the fi rst three fi lms. What is the point is that while it would be incredibly easy to blame all these hipster heroes on Stephanie Meyer’s sexual repression the truth of the matter is that the whole idea is really not that new at all. In fact , a lot of these heroes who are being named and shamed started life as teenagers coming to terms with their place in the world. Stan Lee literally wrote the book on developing heroic, larger-thanlife characters that were st ill bogged down in reality, with all the inglorious problems that go with it. Peter Parker was a bullied high-school st udent when a radioact ive spider bit him way back in Amazing Fantasy #15. The X-Men, too, were really little more than X-Kids when they fi rst appeared on the scene, all brighteyed and stoic in the face of adversity and a thinly-veiled allegory for racism. Relatability and realism haven’t really replaced the likes of the classic Superman ideal. They’ve always

existed side-by-side, in varying capacities of importance, and ultimately, today, being able to really connect with readers through a character – to affect them by speaking to them through a measure of shared experience; to let them know that, hey, heroes get defeated by life as well as telepathic alien cowboys – holds greater weight than lofty promises of perfect existences and outcomes. Except for Iron Man: Armored Adventures – that shit is seriously inexcusable. If that show lasts longer than the way-too-shortlived Spectacular Spider-Man, there is something wrong with every single one of you. WHAT: Superman: Earth One (DC comics)



ccording to Tom Piper, crack is wack. Bum crack, that is. Since the 2010 release of The Bum Song, there’s not a lot Tom Piper can do wrong. A few hit releases, mix compilations for Minist ry Of Sound and original remixes and edits have paved the way for this elect ronic music maker. Piper’s remixing abilities have been nicely st raddled with his take on Sidney Samson’s Riverside, his interpretation of Empire Of The Sun’s Standing On The Shore and his collaboration with Tommy Trash on Funk To The Bass, all of which have added impetus. The success of Piper and his collaboration with Trash on The Bum Song has garnered the Sydney resident a fan base. Of course The Bum Song – a song known more for its novelty value than longevity or solid product ion – wasn’t universally loved. “The Bum Song started out as a joke and it turned into what it is now. It’s really a joke song and I’m sure some people view it as nothing more than a joke. What’s probably not known is that the song was smashed all across Europe,” Piper reveals. However, it was savaged by the critics and purists. “I personally didn’t receive any negativity. I’m sure there are people who hated it. It’s a fun piece of music, especially if you like looking at bums. People should take it for what it is.” Piper has produced music since high school. He started off following hardcore and breaks and soon realised that combining genres resulted in some kind of musical nirvana. The past few years have been particularly busy. “I play all different genres as it’s really important to be open-minded if you want to get places. Music’s coming together all of the time,” he tells. “When I’m performing I literally play anything as it’s all club music. It could be tech, dubstep, house or breaks – whatever’s happening at the time.” His preference is everything and more – just like Piper’s three record labels, all of which

churn out a different st yle of musical blend. Given Piper’s product ion and remixing exploits, the circumst ances surrounding his rise to prominence aren’t surprising. Fortunately, he’s chosen his collaborations wisely – Dest roy Disco, Wax Motif, MYNC Project UK and Jono Fernandez have all worked with him. The process of choosing his alliances is sporadic. “Some collaborations just happen naturally. I could be in a particular city where it makes sense to get together with a friend and make music,” he explains. Piper’s cagey about naming his favourite collaborators. “I’m going to be political and say that these guys are all my friends. And anyway, I don’t want to get bashed!” The musician also scored a respectable #17 placing in the 2010 InTheMix 50 DJ Poll. With Piper’s elect ronic

boggle bouncing from current elect ronic darlings David Guetta, Laidback Luke, Bart B More and Kissy Sell Out’s DJ sets, his music has endurance. Of course, his name may be omnipresent now yet Piper’s not taking anything for granted. “I generally don’t think about st uff like that and take things as they come. It may appear to some that success has happened quickly but for me it’s happened bit by bit and not all of a sudden.” Piper’s learnt to diversify. He’s been championed on BBC’s Radio 1, Triple J and is the host of Ministry Of Sound Australia radio on the Austereo network. Piper says that radio is something of a labour of love. “Radio is cool. Talking to the rest of Australia and playing new tunes is a great way to get out there,” he says. Aside from his musical image, Piper is laboriously routine. He enjoys the stereotypical – dinner with friends and catching a movie rank high amongst his favourite pastimes. However he knows the future is demanding yet exhilarating. “Knowing how to better balance, family and relationships with work is a challenge as I tend to think about work constantly. My BlackBerry is always switched on and most nights I’m either in the st udio or at a gig. I always say you get out of this business what you put in and I like to keep things moving along.” Slowing down or easing back on the workload isn’t an option. “I act ually like my life and like the way it’s st ruct ured. I want to crossover to become bigger and better and to do cooler things like combining different scenes and pushing boundaries. The only way I can do that is to keep working harder. I can’t be at home playing Xbox if I’m serious about making it in music.” That hard work ethic is working well. He’s got another collaboration with Tommy Trash currently doing the rounds in the nation’s clubs as well as a few more projects on the go. “I’ve got a whole bunch of st uff that I’m working on.

Some of it’s fairly secretive,” he laughs, declining to disclose any details. What’s not secretive is Piper’s relationship with Minist ry Of Sound, particularly as the latest Clubbers Guide instalment has just been released with him on mixing duty. Does the relationship with the label help or hinder his progress? “It’s great. Minist ry is across dance music in general so it’s a match made in heaven.” WHO: Tom Piper WHAT: Clubbers Guide To 2011 (Minist ry Of Sound/ Universal) WHERE & WHEN:

The Met (Brisbane) Friday 11 February, Inferno (Traralgon) Saturday 12 February, Hotel Metropole (Ipswich) Friday 18 February, The Mean Fiddler (Sydney) Friday 25 February, King Street Hotel (Newcast le) Saturday 5 March, Academy (Canberra) Friday 18 March, Platinum (Gold Coast) Saturday 19 March






n addition to his co-st ars Richard Roxburgh and Ioan Gruff udd, young Aust ralian actor Rhys Wakefield had another very co-operative collaborator when making the claust rophobic underwater thriller Sanct um – the massive sets designed and built to replicate the submerged cave system where the bulk of the movie’s act ion takes place. “We were working with these cameras that could get a bit temperamental and just die on you, and a bit of that had to do with the temperature, so the soundstages were kept fairly cold,” he recalls with a laugh. “On top of that, we were being pelted with cold water while doing scenes in these tight, confined locations. So when it came to playing cold or tense or uncomfortable, you could often let all that do a bit of the work for you!” With director James Cameron (Aliens, Titanic, Avatar) on board as executive producer, Sanctum – shot in 3D – is a nerve-wracking drama that sees Wakefield’s character, 17-year-old Josh, reluctantly accompanying his father, legendary explorer Frank (Roxburgh), and a team headed by billionaire thrillseeker Carl (Gruff udd) through an undiscovered cave system deep underground in Papua New Guinea. But when a massive storm cuts them from the surface, and the water starts rising fast, the only way out is a perilous passage through treacherous terrain. It’s a journey not everyone will survive. Screenwriters John Garvin and Andrew Wight were inspired by a true-life incident that occurred when Wight was shooting a cave-diving documentary titled Nullabor Dreaming. “When a cave collapsed, 15 explorers were trapped underground behind these boulders the size of Land Rovers,” says Wakefield. “They had to find a different way out and they really thought it would be the end of them, and that’s what led to this script.” With Hollywood taking an interest in him following his performance in the acclaimed The Black Balloon, Wakefield was in Los Angeles when he was fi rst informed about the top-secret project. One videotaped screen test for Cameron later, and he was flown back home to meet with Roxburgh and director Alister Grierson. “Just to make sure we all lined up,” smiles Wakefield. According to the actor, his character Josh is “kind of the emotional compass of the fi lm”. “So I had to chart his journey from being a teenager who’s kind of petulant through this experience that forces him to grow into manhood.” Upon landing his role, the work began in earnest, with screenwriter Garvin (“one of the world’s leading dive gurus,” says Wakefield) running the cast through intense swimming, scuba-diving and rock-climbing training to get them looking and act ing the part. “I don’t think I had any clue just how physical the role was going to be,” says Wakefield, laughing. “It was very much a crash course. I’ve always enjoyed swimming, always been pretty comfortable in the water, but I’d never done scuba-diving and never properly rock-climbed so I was thrown in the deep end, no pun intended. It was quite a journey.”


Even though they were fi lming on “vast, incredible, and detailed sets” – complete with cliff faces, waterfalls, and sunken caves – const ructed on soundstages at the Village Roadshow st udios on Queensland’s Gold Coast, making Sanctum was st ill tough going at times, with Wakefield acknowledging “it was a bit like we went on our own expedition”. And while Grierson was in the director’s chair, the imposing presence of Cameron was also evident on the set a great deal. “Jim would be on the set for periods of time and he’d watch the rushes regularly,” Wakefield says of the notoriously hottempered fi lmmaker. “But he said to me that he found it quite relaxing to have his producer’s hat on for a change, so I feel like I got the calm version of Jim.” Since wrapping Sanctum, Wakefield has been getting a bit physical. “I’ve done a little bit of climbing and a little bit of diving,” he says. “I act ually went for a dive during the shoot, went to Fiji over the New Year break and went diving with sharks. It was terrifying, but I loved it.” WHAT: Sanctum WHERE & WHEN: Screening in cinemas from 3 February



It’s a new year and Boston’s Statik Selektah is off and running with two new releases. One is under the moniker of 1982 as he partners with Termanolgy for The Evening News EP. Then there is the freebie available through iTunes with Freeway on the raps for The Statik-Free EP. They’re both pretty hot, but I’d have recommend the second – only because it contains the superb And It Don’t Quit which serves up a verse each from the gruff sounding Jakk Frost and a return from Smif N Wessun’s Tek. Termanology re-appears with MOP’s Lil Fame for the heavy grained From The Street, while Mac Millar swirls over the anxious ode to his home state on PA. Apparently they recorded the EP overnight and st reamed the process for people to watch online. Great concept. You’re always guaranteed for plenty of DJing work whenever you hear a Statik Selectah product ion and these tunes will once again cement his purist attitude to the music. Southern lad and CunninLynguists MC Deacon The Villian has hooked up with Sheist y Khrist for an album called Ni**Az With Lattitude. Hmmn, okay, sure. While beatmaker/MC Kno ventured off with his Death Is Silent release it was only time before they’d both attempt the solo idea. And they both stepped outside their comfort zones with some varying degrees of success with their musical inclinations. There are a few guitars in the background, a plethora of singing hooks and an attitude that veers into experimentation. Overall it’s an interest ing addition to the QN5 camp and it’s also nice to hear Deacon get some shine for his product ion skills. It might not be as dour as Kno’s effort, but it still is more serious than it is jovial. I cherish the return of Galapagos4 MC Robust with a new beatmaker in the shape of Pore for their Something To Sit On album. Th is also pre-empts Robust’s 2011 follow up album to his 2004 gem Potholes In My Molecules. Crunchy, obscurely sourced and compressed samples are the order of the day and they are served up st raight. This is unadulterated rap shit for underground favoured heads who appreciate gimmick free, hook free, trend free hip hop. Occasionally I fiend for my beats and raps sans anything more than what is needed. Robust most ly raps about all kinds of goings-on in his hometown of Chicago and at a tidy 30 minutes it doesn’t outstay its welcome.



oe Fleury is a newcomer, but she already knows how to play the indust ry game. Previously going under the Bionic Pixie alias, Fleury adapted her fi rst name to Zowie. That it seems to be a homage to David Bowie, she says, is serendipitous. “It just kinda looked right.” Fleury has been described as “Joan Jett with a drum machine”, a hybrid of MIA and Karen O, and (unfairly!) a Ke$ha wannabe. She won over uberblogger Perez Hilton with her earlier Broken Machine, remixed by Saint Etienne’s ultra-cred Pete Wiggs. In fact, Fleury’s music is a combust ion of arty synth-pop, (s)punky nu-elect ro and rock ‘n’ roll attitude. The Aucklander was intent on a music career – as a drummer. “I was brought up in the indust ry ‘cause my father’s a musician as well,” she starts. “He act ually used to play in a band with us for a while, which was really fun. I was just always around the indust ry. There was nothing else I wanted to be. I was always so fi xated on everything that my dad was doing – I was in the st udio with him and his band, just watching and learning everything from when I was in the highchair. So that’s how I got into it. I just always loved it.” Fleury took possession of her fi rst drum kit as a pre-teen. She gigged in bands through school. Later, Fleury attended MAINZ (Music And Audio Inst itute Of NZ), leaving with a diploma in Contemporary Music. She st udied drumming and music business. Fleury has since picked up guitar, programming skills, and the necessary confidence to sing. Indeed, while at music school, she drummed and performed vocals (“screaming,” apparently) in a punk outfit. New Zealand is known for rock, reggae and hip hop, but now, between them, The Naked And Famous and Fleury are repping a new Kiwi elect ronica. But Fleury, whose ancest ry is Indian, has travelled globally to gather album material – Bite Back was cut in Los Angeles with Ima Robot guitarist Timmy Anderson. She’s reluctant to divulge other collaborators just yet. “I’ve been working since early 2010,” Fleury will say of her debut.

“I went on a writing trip and started co-writing with a bunch of people – a dream team of people who I really wanted to write with. I’m st ill in the process of going backwards and forwards on some songs and laying down some drums and that kinda st uff back over here in Auckland, but it’s looking like some time this year it’ll be released – so I can’t wait! But it’s sounding good – it’s there. I feel really proud of it.” For Fleury, Zowie is “a charact er”. She’s developed a futurist ic image with cost umes. “I work closely with a really good friend of mine [up-andcoming designer Serena Fagence]. We design things together and then she’ll go away and sew them up. I’m really inspired and infl uenced by the likes of Michael Jackson, David Bowie and Grace Jones – generally, it’s the ‘future’ look that I go for with all the outfits.” ”

WHO: Zowie WHAT: Bite Back (Sony) WHERE & WHEN: Future Music Fest ival at Doomben

Racecourse (Brisbane) Saturday 5 March, Palace Theatre (Melbourne) Wednesday 9 March, Enmore Theatre (Sydney) Friday 11 March, Randwick Racecourse (Sydney) Saturday 12 March, Flemington Racecourse (Melbourne) Sunday 13 March






angers & Ra are, on paper, something of an immediate success story. Formed by Brisbane DJs and producers Sang “Sangers” Pham and Ryan “Ra” Allen in late 2009, the two-piece have already garnered praise from high profi le acts like the Dub Pistols (who recently commissioned the pair to contribute a remix to their ReHashed album) and genre legends like the Plump DJs (who have officially endorsed the pair’s bootleg mix of Plump DJs anthem Plump Yet Butt). In addition to such support, the pair have also been signed to Barry Ashworth’s West way Records. Their debut EP release Nasty (featuring MC Sirreal on vocals), meanwhile, managed to crack the Beatport Breaks Top 10 following its release late last year. Given that the duo have managed such accomplishments with only eighteen months of working together, it’s difficult to view their career thus far as anything other than some kind of miraculous success story. “It’s absolutely been a surprise,” Pham says of the pair’s success. “You know, you always hear stories. I managed [fellow Aust ralian breaks duo] Bitrok for about two years and it was a tough thing to watch them just have to churn out tunes, keep pushing forward and keep labels happy and so on. We’ve both seen how hard it can be, so it definitely came as a bit of a surprise, but, to be honest, we’ve been so busy we haven’t really had time to think about it much.” Like most rags-to-riches stories, though, Sangers & Ra’s career has decidedly more to it than spontaneous success. Both Pham and Allen laboured independent of one another for years before deciding to pool their resources – Allen having spent nearly a decade producing and DJing solo, Pham operating similarly while also helping to oversee the development of local breaks crew Adicts (the Breaks & Enter parties of which would introduce him to Allen).

“You know, I’ve been producing and DJing for eight or ten years and Sang’s been doing his st uff for a long time as well,” Allen explains of the pair’s history. “By the time we got together, we had a lot of individual st uff and it was just really easy to kind of start working together. I think that’s one of the reasons it’s all happened so quickly for us and why things are going so well – though I don’t think it’s the only reason.” Th is should not diminish the pair’s accomplishments. If anything, the Pham and Allen’s respect ive years in the underground make their imminent success all the more remarkable. It certainly lends a poetic sense of occasion to the pair’s upcoming appearance at Adicts’ celebration of Breaks & Enter’s fourth anniversary – the pair of DJs revisiting their roots before finally progressing to the next level throughout 2011. “Adicts opened a lot of doors for me and for a lot of the guys who played with the Adicts crew,” Pham recalls. “We started it four years ago so I act ually forget from time to time just how much it helped out in regards to breaking a lot of us into that Fortitude Valley circuit. I remember, just recently, I was talking to some younger DJs and it was only then that I remembered just how hard it is to act ually get into that DJing culture in the valley and Adicts helped a lot with that.”

WHO: Sangers & Ra WHERE & WHEN: Breaks & Enter’s Fourth Birthday at Barsoma Saturday 29 February




There is life after death. Late last year the fi rst post humous Michael Jackson “album” dropped, following 2009’s concert fi lm This Is It, plus a ballad by the same title that Jackson wrote with Paul Anka. Michael is cobbled together from incomplete songs (the King Of Pop was a perfect ionist). New music has been crafted for Jackson’s vocal tracks – and there’s extensive post-product ion from Teddy Riley and others. Akon’s career has slumped, so he’ll welcome the exposure afforded him by that resurrected “due” Hold My Hand. It’s a pity that the song, leaked in 2008, is so forgettable. The raucous Monster features that “smooth criminal” 50 Cent at his tackiest. The rockin’ (I Can’t Make It) Another Day comes from Lenny Kravitz (with drummer Dave Grohl!). Most of the songs here originated post-2001’s Invincible, but two are from the Thriller era. The 80s disco Behind The Mask, relying heavily on a Yellow Magic Orchest ra track, is Michael ’s highlight. In the 12 months after Jackson’s death 35 million albums were sold globally. It’s no wonder, then, that Sony plan more projects like Michael. They’re paying Jackson’s estate US$250 million for the privilege. Nevertheless, Michael is shrouded by controversy – and conspiracy theories. Even the Jackson family (and his estate’s beneficiaries) have quest ioned the authenticity of the vocals on Breaking News, Sony denying they’re counterfeit. Riley has stated that Jackson’s voice was digitally enhanced. Another Jackson collaborator, (!), has dismissed the whole project as crass. Tupac Shakur was slain in 1996, his murder a “cold case”, but he’s still had seven albums out (excluding the Makaveli album, which he conceived himself). The sheer volume of previously unreleased music in da vaults has fuelled speculation that this hip hop martyr is act ually alive. In some ways he is: Shakur has been mythologised and intellect ualised. Cynics don’t realise that his mother Afeni has directed profits into a foundation for disadvantaged youth. Shakur famously beefed with ex-homie The Notorious BIG. Ironically, in death, they enjoyed a minor hit with Runnin’ (Dying To Live), remixed by Eminem. A “new” 2Pac album is due this year, the fi rst since 2006.



Welcome to a whole new year of detritus! I wanted to set this off with a look at a relatively new bass-related genre that got a lot of attention in 2010 and is being rocked more and more on my speakers – witch house. What is it, where did it come from and how did it get its dubious name? Denver-based producer Pict ureplane, whose album Dark Rift was an underground hit back in 2009 unintentionally coined the genre name Witch house while describing the spooky, slowed-down house music he was making. The term spread like wild fi re over the Internet and is now commonly used to describe a unique brand of dark elect ronic music. These beats have little to do with traditional house music but instead borrow more from indust rial, drone, shoegaze, juke, soundtracks, melancholy pop and goth in a dist inct ly hip hop/r&b framework. Typical of the sound are slow tempos, skipping or “screwed” drum machine beats and dark, moody atmospherics. Witch house is also referred to as drag or screwgaze. Brooklyn duo Creep even went as far as to dub it rape gaze. Oh, pigeonholes and sub-subgenres can be so much fun! Probably unbeknown to Pict ureplane at the time, there is a house in the town of Salem in Massachusetts that was owned by Judge Jonathan Corwin who was direct ly involved in the infamous Salem witch trials of 1692. The house is one of the oldest in the state and is known as the ‘Witch house’. Judge Corwin served in the court that ultimately was responsible for the hanging of nineteen innocent women accused of witchcraft. The genre’s biggest act and one of my top ten artists of 2010 is called Salem. Th is three-piece act released one of last year’s most unexpectedly brilliant albums King Night back in September. One of the other big delights of last year to come out of this scene was the output of Cologne-based record label Tri Angle. The label is home to the aforementioned Creep as well as Balam Acab and oOoOO who both released incredible debut EPs last year. Balam Acab’s See Birds EP will immediately appeal to fans of wonky beats while the enigmaticallynamed oOoOO’s self-titled EP is a much more pop-influenced affair whose opening track Mumbai is definitely one of my favourite tunes of the past 12 months.




fter his fi rst two singles failed to set Jamaica alight, Jimmy Cliff st ruck gold when, aged just 14, his single Hurricane Hattie hit the charts on his home turf. Cliff had in fact been moved to Kingston by his father to enrol at Kingston Technical School, but he had his own dream. Instead of st udy, Cliff spent his time knocking on the doors of the city’s renowned producers, only to find most doors remaining firmly shut. That was until he spotted Leslie Kong, as Cliff picks up the story. “It was one of my down moments, I just thought I would grab at the last st raw that I could see. That was it. His establishment was called Beverley’s Records and I was working on an idea. I had an idea called Beverley’s. I had just finished the song called Beverley’s, and right away I did it in 1520 minutes and I went and walked into the shop. I said ‘I am a singer and I have this song’. He said, ‘What’s it called?’, I said ‘Beverley’s’. So it made them listen.” Th rough youthful cheek, Cliff climbed the fi rst rung on a ladder that would lead to a career spanning half a century. “There is nothing else I enjoy doing, there is nothing else I would rather be doing,” Cliff concedes. “I just keep doing it.” However, as with any career spanning such an impressive period, Cliff is aware that his career has crashed as often as he has seen it soar. Having clearly enjoyed the ride, Cliff reveals, “I just kind of ride the waves, the ups and downs in life. I have learnt to do that. I have learnt to become a surfer. The up moments they feel great, and the down moments, well you know, I just pick up and start again.” Given Cliff ’s infect ious optimism, it is needless to dwell on his career lows but rather join in a celebration of accolades that include The Order Of Merit (Jamaica’s highest honour for achievement in the arts and

sciences) and his 2010 induct ion into the Rock And Roll Hall Of Fame. While receiving the former was the icing on the cake, being selected for the latter was undoubtedly the cherry on top. “The music I play is born and bred in Jamaica, I helped to create that music and to be inducted in an American inst ituion, that is to be celebrated as a nonAmerican, it really was something.” Almost unable to believe that his childhood dream has been more than fulfi lled, Cliff is st ill humbled when thinking about those who helped him get to where he is now. “When I was making my acceptance speech I remembered my grandmother, who was always very positive that I would make it in life. She was always encouraging to me.” Having worked with everyone from The Rolling Stones and Bruce Springsteen to Kool And The Gang and Johnny Nash, what does Cliff make of the current crop of musical talent? “I don’t see a lot of people who are great showmen. If they are out there I haven’t seen them.” While the showmanship of today seems to be, in his opinion, somewhat lacking, he willingly admits “I am more inspired now by good songwriters. I think R Kelly is one of the good songwriters that I appreciate now. Taylor Swift is a good songwriter who I appreciate. I even like a lot of things that Jay-Z does.”

WHO: Jimmy Cliff WHERE & WHEN: Reggae For Recovery at Brisbane Riverstage Sunday 30 January



remained the same while st ill moving with the times.



iven he’s had a presence in the local club scene since he relocated here from his native Tokyo in 1993, it’s hardly surprising that Brisbane residents st ill count Kazu Kimura as one of their own. The veteran DJ/producer has lived in Spain since 2000 and cancelled any immediate plans to move back here, but he st ill counts the state capital as his second home – even if it has changed since the heady days of the mid-to-late 90s rave era. “When I moved to Brisbane from Tokyo back in 1993, all I remember was Brisbane was just a big country town,” Kimura recalls. “But I met some really cool people here in Brisbane and they helped me out, I couldn’t do anything without their supports you know. When I come back they are always there st ill around, and we keep in touch. “Brisbane has changed a lot since I moved away from early 2000. It’s great to see some old school DJs are st ill on the decks and new faces – old school DJs have some great experiences, young new generation DJs have some fresh unique ideas and power, so that makes good balance.” Home for Kimura now is the Spanish city of Valladolid, 45 minutes north-west of Madrid, and though learning Spanish in a city where English and Japanese speakers are few and far between is a fresh challenge, Kimura’s rest less spirit may well lead him elsewhere. “I am not sure if I st ill want to live in Spain,” he reveals. “I like change in life. I might move to Berlin or Milan or London who knows – the only thing I know is I will stay in Europe for some more years, it is better place for DJs and musicians.” Especially when you consider Kimura’s heart beats to the pulse of techno’s drum. Though the medium he delivers his DJ sets with has changed over the years, from turntables to an unstable early version of Final Scratch back to vinyl and CDJs and now dual laptops running Traktor and Ableton with the help of Native Inst ruments’ Maschine software/ hardware interface in a hybrid live/DJ set-up, his musical song has largely

“My whole DJ life has involved techno since I started at the end of the 80s,” Kimura explains, “so I have seen how techno changed from back then, elect ronic body music and indust rial techno to Detroit techno and tribal techno to minimal techno and tech house took over in the last couple of years. I have never played out tech dubstep because it won’t suit my sets – I prefer dub techno which sounds a bit tougher, for example Funct ion, Sandwell Dist rict, Ben Klock, Marcel Dettmann kind of techno. I like techno guys making housey st uff and house guys making tech st uff, it is really interest ing when those two genre walls get broken, it sounds so fresh to me.” So what does 2011 hold for Brisbane dance music’s favourite adopted son? “I hope it’s a more exciting year for me,” Kimura says. “There’s a new project I’ll start working on with Brisbane’s DJ Fuzion, we have such a similar taste and we both respect each other of sounds, so this will be very interest ing and fresh for both of us. I will also keep doing my own product ions for some labels from around Europe – next thing is for a new label T3R Records from Madrid, it’s in the mastering process at the moment thanks to Dave Worth from Brisbane.”

WHO: Kazu Kimura WHERE & WHEN: Flood Relief at Barsoma Friday 28 January, Tekno Loko

Boat Party Saturday 26 February



All Th ings House with BEN KUMAR


Step right up! 2011 is here! How are everybody’s resolutions faring? Capers has resolved to bring you even more doses of banter and commentary throughout the year, dance music being a vital yet bewildering behemoth at present. Turning briefly to 2010, the Bombay Express gave this very flattering review: “Ben Kumar is the Ricky Gervais of house music. He swaps fl ippers with flangers with amazing ease and dexterity. Don’t sleep on the Capers!” Given the overwhelming homeless population in the ‘Bay, it could well be that editions of Capers, freighted direct ly over from 3D World HQ , are lining the sleeping areas of the underprivileged. I guess one takes their fan base where they find them. Part of signing on to do another year required an agreement to be reached with Tiësto: he wants his music called “Trouse”, an amalgam of trance and house. So be it. Let’s proceed with “trouse” (or “pants” in America), and in return, Tiësto can be known as The Alpha Fuckwit – also the provisional title of Gerry Harvey’s autobiography. Many people write in with questions to this column, and this edition features a top question from Sander of Amsterdam. “Dear Kumar,” Sander writes, “what is the next big thing for 2011?” Thanks for that Sander, good to see you’re asking the hard-hitting questions, much like an inexperienced Channel 9 reporter covering the Queensland flood crisis. The “next big thing” is a Gordon Tallis-st yle “don’t argue” stiff-arm for asking such an impertinent question. However, when pushed, the following might make an impact: Benoit & Sergio, Max Cooper, Brassica, Psycatron, Shit Robot, Jamie Smith (The xx), Commix, Kobana & Hatchet and Charlie May. Stay tuned for a hefty cast of unknowns. The beauty of dance music is that almost instantaneous feedback loop between making tunes for a dancefloor, then seeing how those tunes work on a dancefloor. So will “trouse” be the next big thing? Well, despite a hybrid of trance and house, better known as progressive house, being universally acknowledged as a musical genre since 1992, trouse will probably take off. Why? Because that’s the state of dance music in 2011: what is popular is so far removed from good, it’s nauseating.



FAITHLESS The Dance Never Ends (Nates Tunes/Liberator)


(New State/Balance Music) A long time ago in a summer of love far, far away – but in a galaxy remarkably similar to our own – Paul Oakenfold was a dance music frontiersman. The law of diminishing returns has affected his output in the years since he returned from the promised land of Ibiza to spread the acid house gospel through the UK and beyond in the late 1980s, but his influence cannot be over-stated. And a multitude of recent musical sins and the indulgence of revisiting one of his career high watermarks thus deserve to be judged with some leniency. Fortunately, The Goa Mix 2011 does more than just pay tribute to its near-mythical 1994 namesake – it largely recreates its predecessor’s quasi-spiritual trance glory. Oakenfold’s original broadcast for BBC Radio 1’s Essential Mix developed a cult following and it’s easy to see why across a two-disc select ion which captures rave’s evolution into trance and progressive and hints at the psy-trance to come in a vital – and far from predictable – history lesson. Oakie puts the foot down immediately with a superb opening run through the energetic proto-trance sounds of Mr V, Grace and Li Kwan before Virtual Symmetry’s The VS brings the pianos and Vangelis’ Tears Of Rain (one of two select ions lifted from the Blade Runner soundtrack) pulls things back to a standst ill. Th is cycle of build, peak and breakdown is repeated across numerous song cycles but never gets tired, with halftime interludes (The Grid’s Floatation), orchest ral passages and even early jungle always working with rather than against hands in the air classics from Man With No Name, Marmion and Hallucinogen. Even PPK’s Resurrection in ambient form doesn’t sound played out here, and despite the odd mis-step, The Goa Mix 2011 is as good as tributes get – and a sign that the fi re of inspiration in Paul Oakenfold hasn’t completely dimmed. KRIS SWALES

It could be said the dance ended a while ago for UK elect ronic stalwarts Faithless, the group has st ruggling to shake off the Insomnia and God Is A Dj shackles and meandering through a few lacklust re albums in recent times. And the release of The Dance Never Ends is, essentially, a re-release of their back-to-form album The Dance which nicely coincides with their forthcoming Aust ralian tour. Th is remix package, released via their own Nates Tunes outlet, is backed by a raft of big name Charlies, namely Eric Prydz, Armin van Buuren, Crookers, The Temper Trap and Tiësto. That The Dance Never Ends is neither terrific or terrible just about sums up the band at the moment. Kicking off with Jazz’s familiar, monotonic vocals on Not Going Home, it is

PIGEON JOHN Dragon Slayer

(Quannum Projects/Other Tongues) Though Dragon Slayer is Pigeon John’s fi fth album since 2002, the Californian vocalist didn’t properly pop up on our radar until 2009 when he added a brilliantly infect ious hook to one of the singles of the year in The Grouch & Eligh’s All In. John had been on the scene since the glory days of the 90s LA underground, coming up with the likes of The Pharcyde, J5 and Freest yle Fellowship, yet his big break didn’t come until much later when Lyrics Born signed him to his Quannum Projects label. By this stage John had established his own st yle, one that combined 60s soul, blues and popst yled singing with the odd rap here and there. Dragon Slayer sees his maturation continue as he produces the entire set himself, the only samples used being entirely self-generated.

normal Faithless territory: brisk beats, a dark undercurrent and effect ive basslines. What’s different is the remixes that now accompany the album. Aside from the original, Eric Prydz has a crack at turning Not Going Home into a more house friendly record while Armin van Buuren takes it one step further by angling it towards a progressive tilt. One of the st rongest original tracks, Tweak Your Nipple, receives a feist y Crookers remix while Tiësto gives the same tune a trance renovation. And so it continues with The Temper Trap remixing Comin Around, ATFC taking on Feel Me, Mark Knight tweaking Sun To Me and the impressive Kyau and Albert’s spankingly good vocal friendly version of Feelin Good. Although this is a barefaced cash-in, the dance thankfully hasn’t ended for Faithless – yet. STUART EVANS

John’s sound oozes a lovable old-school naiveté, untouched by ravages of swagger, bling and thuggism, as he intertwines his happy-go-lucky singing st yle with simplist ic raps. He starts the show “banging Sinatra in a flat Cadillac” over a frenetic beat and rollicking organs, flowing into the catchy Buttersoft Seats on which he fantasises over how he would spend his riches if he made it big and the psychedelic mellow of Dude, It’s On. It’s not all good times though – despite its happy, drunken groove Rock Bottom Again sees him admitting his failings while The Pharcyde-inspired Excuse Me is a spiteful breakdown of unrequited love. Later John channels his inner folk singer as tries his hand at story-telling on Davy Rockit and a cover of The Beatles Rocky Racoon. DARREN COLLINS





(Clown & Sunset/Phonica) Perhaps best known for his outings on labels such as Wolf + Lamb or Circus Company, New York based young blood Nicolas Jaar has long been on the tip of trendsetters’ tongues for some time. Ignoring the ageist argument that his music is even more remarkable for his mere 20 years in the world, we’re st ill left with the image of an iconoclast ic artist yet to fully reach his prime. His newly established label Clown & Sunset should, however, give a little further insight into the impressive range that his more dancefloor focused numbers have yet to demonst rate. It’s appropriate then that the fi rst major release for the label should come on a USB thumbdrive: that is unless you’d prefer to download it of course. The Inès LP compiles material from Jaar

himself, and fellow prodigies Nikita Quasim and Soul Keita – both of whom are yet to even enter their 20s. Though the general impulse with most elect ronic music is to ascertain whether people can boogie to it, you best leave leave such feelings at the door prior to entering the house of Clown & Sunset. Whilst some of the tracks (Dubliners in particular) feature some especially tast y beats, most of the Ines offerings will better suit the cocktail lounges and bedrooms of the world. By no means is this to the detriment of the release, as each track is so well produced and characterised by such clarity that you’d be hardpressed to turn an ear away from it. Though we’d be remiss to simply write it off by putting it in the downtempo pigeonhole, the Inès LP is simply too broad in its influences and textures to boil it down to basics. DANIEL SANDERS

Lowe’s original of Real Time is a smooth deep house trip with a beautiful deep bassline, warm chords and lush washes, while Jono Fernandez turns it into more of a peak-time tune sure to do well on bigger dancefloors. Undercut sees Tim Culbert continue the deep vibes, but with a slightly more funky, soulful edge thanks to delightful fi ltered piano stabs and shuffly percussion. Matt Rowan delivers a tougher, more robotic groove but keeps the important elements from the original.

JUSTIN KNABBS Pillow Fight (Exone)

Proper late-night freak out vibes here. The deep, rolling bassline, fi ltered ethnic percussion and warped effects will turn your head to mush before the breakdown even arrives, when an even more twisted (but bizarrely funky) synth stab rears its demented head and finishes you off. Fantast ic.

ATOMIC DROP Gaytan & Aviators (Broken Records)

Absolute fi lth, and everything that made nu-skool breaks blow up in the fi rst place. The bassline growls loudly over kicks that will punch a hole in your chest, and both are carried along by squelchy synths and effects with plenty of clever edits and rolls to keep things interest ing. ANDREW WOWK

VARIOUS Strain Of Origin

(Feral Media/Lofly Recordings) A rather brilliant marketing ploy, Strain Of Origin finds the artists of Brisbane indie/ experimental imprint Lofly Recordings teaming up with the artists of Sydney indie/experimental imprint Feral Media to remix each other’s material. While the idea of indie-experimental artists remixing each other’s work may suggest all manner of self-indulgence, the resulting record – available for free download from Feral Media’s Bandcamp page – is act ually an imminently listenable piece of work. In stark contrast to the majority of remix albums, Origin is infinitely more concerned with the arts of deconst ruct ion and reinvention than anything resembling dancefloor accessibility. It’s difficult, for example, to imagine the lightly shuffled beats and


shimmering ambience of Vorad Fils’ opening remix of Til The Money Outruns Us (originally of Brisbane math-rockers Mr Maps) or the soaring vocals and austere rhythms of Underlapper’s revision of aheadphonehome’s The Rattle working in any context outside of solitary listening and relaxation. Th is, in act ual fact, corresponds with what is both the album’s greatest st rength and weakness: cohesion. Exceptionally wellconst ructed, beautifully produced and thoroughly pleasant to listen to, Origin is so comprehensive as to sound almost as if it could have come from the mind of one artist. Each track is imbued with the same gorgeous ambient textures, wilfully off-kilter beats and beautiful, sparkling melodies. MATT O’NEILL

3DPLAYLIST 3D 1. Jurassic Park Theme (1000% Slower) BIRDFEEDER 2. Fabriclive 55 VARIOUS/DJ MARKY 3. Aundy (James Zabiela Mash-Up) CLAUDE VONSTROKE 4. Memories (90s Piano Mix) MICHAEL CASSETTE 5. Arthur S Landing ARTHUR S LANDING 6. Golden Globes Opening Monologue RICKY GERVAIS 7. Bedrock 12 VARIOUS/JOHN DIGWEED 8. Pepper Snake THE CACTUS CHANNEL 9. Deep Medi Releases Volume 2 VARIOUS 10. Eleanor Rigby (Jozif Edit) THE BEATLES



elf-proclaimed bast ions of bounce and assassinators of fakers, Act Yo Age by name tout the benefits of being mature whilst wisely refusing to divulge the length of time they’ve act ually spent on the planet themselves. But who really cares about numbers when the time they have spent has been dedicated to creating arguably one of Aust ralia’s finest elect ronic music exports? Having recently released their long-awaited EP on renowned label Southern Fried Recordings, home of international music geniuses such as Armand van Helden and The Black Ghosts, the duo have been travelling the globe and the country to showcase their musical wares – and to much acclaim at that. “[Since the EP, life has] been fantast ic,” one half of the pair, Tim Sea, enthuses as he juggles chatting and ordering coffee. “It’s been amazing, a huge whirlwind. Since we signed with Southern Fried, we signed a three-year deal, and since we made that decision almost a year ago now and started planning the release with them things have just travelled at a huge rate. It’s been incredibly positive and we’re just trying to be quietly humble about it.” No st rangers to the hard work associated with pulling together an EP, this is round two for the boys but a very different one. With a noticeable shift to a softer sound, the boys have acknowledged the hanging up of their rave shoes and a return to their house origins. Sea says the change in direct ion of both their label and their sound was a well thought out one. “The second EP was very much a more considered endeavour,” Sea reveals. “We wanted to make a follow-up and our sound had matured and we really wanted to find the right platform to share that with the world. Our fi rst [EP] was released on Sweat It Out, so that was released under those circumstances – it just happened – we had a few records and it was released. Southern Fried is Norman Cook’s (Fat Boy Slim’s) label and the reason for us going with that label, it’s home to people we grew up listening to. Joining forces with them has been a big step for us, in terms of what doors its opened up and the remixes we’ve been able to do. It was a very considered step.” Something they didn’t need to consider was how they would deal with the travel that would accompany a second EP. Already travel veterans, they boys knew their schedule would be hect ic, and indeed it has been. With an itinerary that would make many seasoned travellers quiver, Sea laughs it off as easily handled.

“It’s a funny thing for us,” he says. “We’re fairly well accustomed [to the travel] and since 2009 we’ve been consistently touring our arses off. We just got back from New Year’s Eve in Malaysia and before that it was Singapore, and we’re quite adept to it. We operate a fairly st reamlined team and we’re members of every travel lounge you can think of!” One up side to the lengthy periods spent on the road is, surprisingly, the work they get done. Sea says that the technological side of the industry, which didn’t exist when they first started out, means that production doesn’t need to be sacrificed for touring or vice versa. “The beauty in terms of advances in technology is you can basically work completely autonomously

off a laptop so both of us can work on our independent projects while we’re on the road together,” he explains. “We both work off laptops so a lot of that time is working on planes, making excusive edits or original product ions. Technology has set us free.” Sea also admits that the technology is freeing in other ways – like providing a time out from each other in what can otherwise be long st retches of time in relatively confi ned spaces. “We get along quite well,” he says with a laugh. “We’re both pretty autonomous as people, and we were mates for years before this. The whole touring thing for us works because we respect each other’s space.” But with so much time spent away from home, the quest ion has to be asked... “Yeah, we don’t act our age, we’re gigantic kids at heart,” Sea laughs. “We’re always asked when we’re going to grow up and get real jobs and so it’s a name that fits really well with us. We’re both older and have been in the indust ry for, well, 15 years without giving away our ages. We’ve been through the vinyl and the producing and now the elect ronics.” But despite the jokes, these two house-proud fellas are st ill young, and that means they st ill have a long list of things to achieve when it comes to their musical careers. “To be able to do all of it, it’s a privilege. Both of us are…when it comes down to it, we’d be doing it for free because we love it so much. We’ve been blessed to travel the world and play music we’re really passionate about and to crowds who are aware of us and who are receptive to us.” WHO: Act Yo Age WHERE & WHEN: Family Saturday 29 January





t’s hard to imagine the trajectory drum‘n’bass has taken over the past two decades without one central figure – Andrew Clarke, better known in the scene as simply Andy C. The founder of RAM Records back in the early 1990, Clarke has continued to maintain a Godfather-like status within the d‘n’b community through a combination of his A&R and leadership of the flagship label, his own product ions and his lightening-fast DJ sets which in themselves have become the st uff of legend. Further cementing his reputation has been a series of mix CDs called Nightlife which started in 2003 and document Clarke’s biggest dancefloor weapons of the moment. The fi fth volume of the series recently hit record store shelves, this one spread across two discs. With so much music to select from, the process of assembling a mix CD of this level must be a daunting one. “It’s huge man,” Clarke admits over the phone from London. “It all starts off and you kind of think it’s going to be easier because you look at what you’re playing out in the clubs and you look through the record box. As time goes on you’ve got new additions you want to add and certain tunes you want to play that maybe you don’t play in the club. It just turns into this process that basically ends up right at the very last minute. “I mean on this one, even the night I was mixing I was st ill finding some tracks and going out at midnight to pick some up. ‘Oh, it’s got to have this tune on there and it’s got to have that one’ and people were making me new tunes right up to the last minute. So you know, it starts off easy and just turns into a last minute rush. I could have done it over three CDs you know – there were loads of tunes. But in the end, I was under orders to keep it at two so that’s what we did. I st ill managed to squeeze over 60 tunes on.” Over the life of RAM Records, Clarke has helped break a lot of d‘n’b producers and it’s no


surprise that he has access to all the latest dubs from every producer in the scene. These days the offices of RAM are inundated with demos from all around the globe. In recent years the label has enjoyed plenty of success with big album releases from the likes of Chase & Status and Sub Focus. But when Clarke started RAM back in 1992, things were a lot different and it was impossible to predict that the label would go on to enjoy the longevity and success that it has. “No way,” Clarke agrees. “The whole RAM idea was literally born out of evening sitting down at home. I was talking about the fi rst release – I was gonna press it up onto white label. Long story short, she was an artist and she was like, ‘I’ll throw up a logo, why don’t you call it RAM, find out how to print labels onto records?’ So the whole process really came about in an evening of just having a laugh and mucking around. The next day I found out how to print labels onto a record. But what it’s done is phenomenal and I’m incredibly proud of it. There have been so many people that contribute to the success of the label, you know. It’s not without everyone’s efforts. “So it’s crazy – we’re 20 years old in two years’ time. We’re planning big parties – we’re gonna have big parties and a big celebration for it. There’s not many labels that last that long, let alone sort of underground d‘n’b labels so I’m really, really, really proud of it.” Almost 20 years is a long time in any game and one wonders how Clarke st ill manages not only to keep up with the d‘n’b scene, but to st ill be interested, excited and seduced by it. “It’s in my blood man, you know,” he replies. “The energy, the dynamics of it, the rawness of it, when the drops come in the clubs – there are so many st rings to the d‘n’b bow now. There are so many sides to it that you really can explore the journey during a set. That’s why I prefer to play longer sets and play a bit of everything. I do like to cram it in and keep the energy levels up so I do fit in as many tunes as possible. “D‘n’b is just unique, isn’t it? The tempo is unique and the whole vibe behind it. There is not another dance music like it.” WHO: Andy C WHAT: Nightlife 5 (RAM Records/Inertia) WHERE & WHEN: Monastery Friday 28 January



YOUKA WHERE AND WHEN WAS YOUR FIRST PERFORMANCE? “My fi rst ever performance was with the school st ring ensemble when I was in Grade 6, at school assembly. I had only started learning violin a couple of months before that, so I was shit scared. I dist inct ly remember flying into a blind rage one afternoon when I was trying to pract ice the parts at home and couldn’t get the rhythms. I nearly broke my bow by whipping it repeatedly on my parents’ bed. They weren’t happy.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “I don’t act ually own much vinyl, but I was once gifted an LP featuring all the original recordings that J Dilla sampled on Donuts. I’m a huge Dilla fan, so it was a pretty special gift. I lent it to my friend Matt and I haven’t seen it since… Matt, you thieving bastard, give me back my record!” WHO ARE YOUR FAVOURITE ARTISTS? “Prince. And then there’s Erykah Badu, Björk, David Bowie, Boom Clap Bachelors, Sa-Ra Creative Partners, Georgia Anne Muldrow, J Dilla, Kanye West, Mos Def, Flying Lotus, N*E*R*D, OutKast, Gorillaz, Daft Punk, Cornelius, Curtis Mayfield… Fuck, don’t even get me started.” FAVOURITE VENUE TO PLAY? “The Tivoli is gorgeous and I really miss The Troubadour. And I love Zuri of course!” WHAT’S YOUR BEST ALL TIME GIG? “I played Big Day Out the year Björk and Rage Against The Machine headlined. Awesome sound, massive stage, big crowd. The rest of the day was spent getting drunk and watching some fricken rad performances by some of my heroes.” WHAT’S THE FUNNIEST THING YOU’VE SEEN AT A SHOW? “I performed at Peats Ridge Fest ival a few weeks ago, and at one point the frontman decided to lay down against the foldback and rock out a little. An excited audience member saw this opportunity and pounced, delivering said frontman with a full-blown head massage for the remainder of the song. It was pretty st range. I think they both liked it.” WHAT’S THE WORST REQUEST YOU HAVE BEEN ASKED TO PLAY? “The tune from the old Baker’s Delight ad. I don’t even know how it goes!” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They are ridiculously supportive. I think their parenting philosophy has slowly been dist illed down to ‘as long as you’re happy’ – which I definitely am! Thanks Mum and Dad.” WHAT DOES THE LOCAL MUSIC SCENE NEED MOST? “More small, intimate venues, and probably more of an audience to be honest.” WHAT GIGS HAVE YOU GOT COMING UP? “Zuri Friday 4 February, The Zoo Thursday 10 February, Zuri Friday 18 February.” PHOTO BY TERRY SOO AT LARUCHE





PREDICTIONS FOR 2011 US and Chinese international relations will hit an all-time high, consummated with public lovemaking between Barack Obama and Hu Jintao, resulting in the birth of a super-powered immortal demi-god named Hubama, who will eventually rule the entire globe with his iron fist ing ability. Jay-Z will finally succumb to public pressure and release a celebrity cookbook, co-authored with Beyonce and Gordon Ramsay. The book will be rated R18+ for explicit language. Eddie Perfect and Bert Newton will also make a lighthearted musical portraying the events of the Queensland Floods, called Rain, Rain, Go Away. Sydney Mayor Clover Moore will continue in her crusade to make Sydney’s nightclubs her bitches. The one positive will be the banning of Ed Hardy t-shirts from the CBD, with Melbourne and Brisbane to follow. Jersey Shore will be turned into a 3D musical starring Lady Gaga, Just in Bieber and Kevin Spacey. Pornographic footage of Nicki Minaj will emerge, probably from the office of Minaj’s agent. The footage will gain the most website hits ever achieved in the history of the internet. The move will be copied by Julia Gillard in a desperate attempt to regain popularity after disast rous polling in 2011. The lack of interest from newspaper editors will prompt the ALP to take out several full-page ads in metropolitan dailies as part of a national awareness campaign about the footage. Greens leader Bob Brown will continue to ask coal companies to foot the bill for any number of goings-on that he has attributed to manmade climate change. Among these will be the full gamut of popular social causes, including Aust ralia’s poor cricket form, the continuing presence of Kyle Sandilands on Aust ralian radio and the emergence of the term “UK Funky”. The untoward sex lives of Aust ralian sports celebrities will continue to make their way into the lives of everyday Aust ralians, culminating in a number of cable-only reality series, including: Hookers and Hookers, Put it Away: The Life and Times of Brendan Fevloa, Dog Day Afternoon: The Joel Monaghan Story, and When Rugby Team Pack Rapes Go Bad. Environmental campaigning group Greenpeace will continue with their campaign against perceived wrongs with the Earth and its inhabitants, and will propose global bans on the following: food, water, cars and elect ricity.

1. Like A G6 SONIC WHIM 2. Smash The Pressure DEEKLINE 3. Kernkraft 400 (The Only Bootleg Remix) ZOMBIE NATION 4. Ghostbusters (David Freedom Mix) SUNRIDER 5.I Like That YOLANDA BE COOL, DCUP, NABILION 6. R.E.S.P.E.C.T. (RLP’s Original Mix) RLP AND BARBARA TUCKER 7. Feel Your Soul ALEX KIDD 8. Alpha W&W 9. Dirty Talk (Extended Remix) CHICKS N FIRE 10. Groove On (Remady Mix) TIMATI FEAT SNOOP DOGG

YOUTUBE OF THE WEEK THE OTHER BLACK SWAN So it looks like Natalie Portman has a good shot at being nominated for an Oscar following a thrilling performance in the psycho ballerina fi lm Black Swan. However after watching Glowpinkstah’s Black Swan makeup tutorial we imagine that had the fi lm’s cast ing directors auditioned this one-of-a-kind lady for Portman’s role they would have had a very tough time deciding between the two beauties. Not that Glowpinkstah has anything to worry about – her video has now had over 275,000 views on YouTube and that is worth way more than a crumby old Oscar. Right?





HOW DID YOU GET YOUR DJ NAME? “Well I could have put a lot of thought into it and come up with something really amazing and creative but I went with my last name Bowman.”


IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Stripped back dark driving big bass minimal techno.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Hatzler – Resilience.” WHAT MADE YOU START DJING? “The pure pleasure of making other people dance and enjoy themselves.” WHAT’S THE

WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “I see a lot of weird st uff in clubs every weekend, it’s hard to tell what’s weird and what’s not. Two people dressed up as some weird creatures on st ilts trying to get around in a club with low ceilings.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Pretty sure it was a Michael Jackson one, not sure exact ly, trying not to remember.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Can you play something with vocals in it?”

WHERE & WHEN: Earth Freq Fest ival at Landcrusier Park Friday 11 February

ROCKINGHORSE CHART 1. Magnetic Man MAGNETIC MAN 2. Ravenous 20ten RAVEN 3. Inkstains PHATCHANCE 4. Sound of Wings COPTIC SOLDIER & MIRIAM WAKS 5. Yet/Kontrol MARTYN/2562 6. Drama to The Finish THE STATESMEN 7. The Deadbrain Diaries TORNTS 8. Versus EP LUCIANO, GUY GERBER, LEE VAN DOWSKI, GLIMPSE 9. Wake Up! JOHN LEGEND & THE ROOTS 10. Good Th ings ALOE BLACC



THE IDEA BEHIND OUR NIGHT IS… “A fun fi lled night for the 18 to 25 age group in Noosa and beyond to get out and party.” WE’LL BE PIMPING THE SOUNDS OF… “The freshest top 40 and commercial dance tracks.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “DJ Hanja, DJ Banksy and special guests.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Fantast ic prizes to be won every week like Flight Centre vouchers, surfboards, iPads. Different prize every week.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Free pizza, free pool and dancin’ into the night.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Free pizza, free pool, free entry and free courtesy bus for pick-up in the Noosa area.” WHERE & WHEN: Th irst y Thursdays at Fusion Villa Noosa every Thursday




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SUSHI SNAPS 1 Brand Spank’d @ Family 2 Frat Club @ Regatta Hotel


5 Friday Night Detention @ Beach House Bar

6 Saturday @ Exchange Hotel

3 Friday @ Limes Hotel

7 Saturday @ Fringe Bar

4 Friday @ Zuri

8 Saturday @ Port Office



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ELECTRIC PLAYGROUND Australia Day Pool Party: Calvertron, Wil E, Sketti, Danny T, Calvertron, Kayli, Gee-renk, Huckleberry Th inn, Benny Hassum, K-Time, Censor Th is, JMac, Noy, Alex Terrell, Wahoo, Private Property, Monique Unique, Jessie Weyand. 12pm. FOX HOTEL Feel The Heat: Sosueme DJs, Charlie Hustle, Charlie Hustle, Disko Diva, TeeJay, Van Miert, Mr Sparkle, Morgan Baker, TooShoes, Fef, Della, Waity, Nado, Peter James, Allan P. 12pm. $20. HI-FI Mos Def, 2 Dogs, Seven, Crate Creeps. 8pm. $62.30. RENDEZVOUS Masta K. 9pm. THE REGATTA Frat Club: Pete Smith, Mark Z. SHOOTERS I Love House Music: Brett Allen, Alex S. 8pm. X & Y BAR Maggie Collins. ZURI Sushi Remixed. CALVERTRON

$10/Free Before 11pm. FAMILY TOP FLOOR Bad Ezzy, Katie Karma, Lozzi & Miss Jamie. General: $15/Free Before 10pm. Members: $10/Free Before 11pm. THE MET Laidback Luke, Pete Smith, DJ Andee, Nick Galea, Paul Ison, Hello Australia DJs, Mr Sparkle, Bossy. 9pm. $38.70-$43.80 pre-sale. MYSTIQUE ARENA Blaze, Master D, Otto. MONASTERY Rescued: Andy C, MC GQ , Hydrophonics, Kurrupt, Erther, Duos, MC Pase. 9pm. $56.10 PRESSURE LOUNGE DJ Climate, Ricky D. THE REGATTA Oarsome Fridays: Paul Bell, Mark Z, 9pm, Free. SHOOTERS Brett Allen, Tredman, EA Kut, Stupified, Mister P, MC Premix. SOUTHS LEAGUES CLUB Flood Of Relief: DJs Katch, Sarah Howles, Rude Kat, Ben Osbourne & Ravi. $32.70 + bf. SQUEEZE CLUB DJ Tuini, DJ Adam. X & Y BAR Ridgeback County, Aniki, Danny Cool. ZURI Provocateur: Chantal, Benn Hopkins, Jason Rouse, Matt Kitshon.


THURSDAY ALHAMBRA LOUNGE Lambda Lambda Lambda: Young Men Dead, The Founds. CITY BEACH PAC FAIR Finabah. FUSION VILLA NOOSA Th irsty Thursdays: DJ Banksy. MONASTERY Baby Gee, Alex Terrell, Sketti, Censor Th is, Starkers & Hutch. 9pm. Free. RENDEZVOUS Masta K. 9pm. SHOOTERS Glam: Brett Allen, Tredman, Dezastar, Denaro, Owe, Fortafy. X & Y BAR Boys and Girls. THE ZOO Kora, 8pm, $30 ZURI Glamorou$: DJ Mista, DJ Stupified.

ALHAMBRA LOUNGE Jason Rouse, Aydos, Trav White, Sharif D. BARSOMA Breaks & Enter: Stanton Warriors, Sangers & Ra, Datadex (Dex n Fx), Chris Kelly, Just Iyan, Irikanji, Wadza, Dastardly Kuts, MC Kitch, Kid Midnyte. 9pm. $33.10 pre-sale. BASEMENT 243 Anarchism – Social Sickness: Un3xist, Hellraiser, Erazor vs Spinecode, Dr Oneironaut, 2styliztik, Crakt, Dylboy, Deeplex vs Khanage, Weapons Of Mass Distortion. 7pm. $20. ELSEWHERE Secret Love Heroes: Thomas J, Brett Sellwood. 10pm. FAMILY BASEMENT Habebe, Jeremy Iliev, Tim Plunkett & Jason Morley. General: $15/Free Before 10pm. Members: $10/Free Before 11pm. FAMILY TOP FLOOR Hey! Hey!: Act Yo Age, Dr Rob, Jordan Who?, Danny T, Aniki. General: $15/ Free Before 10pm. Members: $10/Free Before 11pm. FUSION VILLA NOOSA Summer Daze R&B Nights. GLOBE THEATRE Thundamentals. 7pm. $13.30 (pre-sale). LALALAND Rhys Bynon, Miles Jr. THE MET Pete Smith, DJ Andee, Nick Galea, Disko Diva, Niko, Malcolm, Mr Sparkle, Roman. 9pm. Free before 10pm $15 after.

MONASTERY Trumpdisco: Noy, Luki, Jmac, Killafornia, K.Oh!. 9pm. Free before 10pm/$10 before midnight. MYSTIQUE Hitmen Crews: DJ Maxwell & Blaze. PLATINUM NIGHTCLUB Laidback Luke, Gerry Morales, Craig Roberts, Joey Mojo. 9pm. THE REGATTA Regatta Saturdays: MC Bossy, Paul Bell, Marky Mark Z, Scotty R, DJ Tom Walker. X & Y BAR T Royal Zephyr, Buffalo Brown, Slynk, Butterz. ZURI Benn Hopkins, Matt Kitshon, MC Jamie Lee Wilson, Mick Burrel. Free before 10pm.

SUNDAY BRISBANE RIVERSTAGE Reggae For Recovery: Mary J. Blige, Jimmy Cliff, Maxi Priest, Sean Paul, The Original Wailers, Ky-Mani Marley, The Black Seeds & The Red Eyes. $99. ELSEWHERE Sunday Night Royale: Stretch Paper Cranes, Giv. FAMILY Fluff y’s Beach Party: Bimbo Jones, Lee Dagger UK, Harry K & Karma, Velvet Motion, Alexei Paige, Jess Who & Taylor, Allure Dance Troupe. NEVER LAND BAR Easy Sundays. TITANIUM Generic Collective. X & Y BAR Dana Geharman, Robbie Miller, Bacon. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.


FRIDAY ALHAMBRA LOUNGE Shimmy Shimmy Ya: Aniki, DJ Butcher, Woodsy, Mumbles, LL Cool James , Jonny Drama, Kid Midnyte, Chris Kelly. BEETLE BAR The Moderns. 8pm. $10. CITY BEACH QUEEN ST Finabah. COOLANGATTA HOTEL Kora. 8pm. $30 (+ bf). ELECTRIC PLAYGROUND Roger Sanchez, Murray Brown, Karma, Wahoo, Jessie Weyand, DJ Real, Dirtie Cloud DJs. 9pm. $34 pre-sale. ELSEWHERE Electronic Boogie Show: Audun, Poodfy. 10pm. FAMILY BASEMENT 4 Strings, Jer, Baby Gee, Karma. General: $15/Free Before 10pm. Members:





NELLY FURTADO WHOA, NELLY! (DreamWorks), 2000. Whoa, Nelly! is the debut album by Canadian singer-songwriter Nelly Furtado. Blessed with model looks and an ecentric sense of st yle, Furtado shot to stardom with the release of lead single I’m Like A Bird – an infect ious, optimist ic tune with peculiar grammar and rapping. The hit was followed up by the release of another two hit songs Turn Off the Light and ...On the Radio (Remember The Days). After a decade in the business Furtado continues to rock – in 2009, she released her fi rst full-length Spanish album Mi Plan, which won a Latin Grammy Award in 2010.


TIËSTO KALEIDOSCOPE (Musical Freedom), 2009. Kaleidoscope is the fourth st udio album by Dutch trance artist Tiësto. Following a departure from his last label, Tiesto created his own Musical Freedom imprint to develop his own evolving sound. The global dance icon enlisted an enviable list of talent to feature on the album including Sigur Rós, Kele Okereke of Bloc Party, Calvin Harris, Tegan & Sara, Emily Haines of Metric and even Aust ralia’s own Sneaky Sound System. And the dist inct ive voice of Nelly Furtado also features on the track Who Wants To Be Alone.


SIA SOME PEOPLE HAVE REAL PROBLEMS (Hear Music), 2008. Some People Have Real Problems is the third st udio album by Aust ralian soulful jazz-st yled pop singer and songwriter, Sia. Standout singles included Day Too Soon, The Girl You Lost and Soon We’ll Be Found. At the 2009 ARIA Music Awards, she won the award for Best Music DVD and Some People Have Real Problems was nominated for Best Breakthrough Artist Album. Californian songwriter and super-producer Rick Nowels is credited for co-writing the track I Go To Sleep on Sia’s album – he also co-wrote Who Wants To Be Alone featuring Nelly Furtado on Tiesto’s Kaleidoscope.



Yet another lawsuit related to the late Michael Jackson’s music empire was fi led last week. Michael Jackson’s mother Katherine is being sued by the King Of Pop’s estate for trying to market valuable memorabilia on the website The website markets “official” souvenirs of the singer with the authorisation of 80-year-old Katerine. Although Katherine is a beneficiary of the Thriller star’s estate and is the guardian of his three children, Michael’s attorneys insist that no one should be allowed to exploit the legacy of one of the world’s most recognised talents for their own benefit. In addition to this lawsuit, Michael’s physician Dr Conrad Murray was ordered to stand trial for involuntary manslaughter at the start of this month. A court test imony showed he administered a powerful anaest hetic and other sedatives then left the pop star alone – it is a claim that has infuriated the music legend’s dedicated fans around the world. Murray’s lawyers have admitted the doctor did inject the 50-year-old pop icon with the powerful surgical anaest hetic Propofol in an attempt to combat Jackson’s chronic insomnia, but that the dose “should have” not been enough to kill him. The high-profi le trial will examine all aspects of the star’s death and try to finally place responsibility for his tragic demise at the age of 50.

HOW LONG HAVE YOU BEEN BREAKING FOR? “Nearly 11 years.” ARE YOU AFFILIATED WITH ANY CREW? “Skill at Will, B-Boy Allstars, Rapid Fire and FSU.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST BATTLE ? “First battle was 2001, it was called Down N Out and Tuff Kidd from Switzerland was the special guest. It was just insane!” YOUR MOST MEMORABLE BATTLE AND WHY? “One of the best battles I have had was in the UK in 2005. I was watching a battle with three


English guys versus four or five Polish or Swedish B-boys. The English guys were getting smoked so I jumped in saying it was the Commonwealth. It ended up being a really heated battle on the st reet just outside the UK B-boy champs and then the police came running in and broke it up.” WHAT TRACK TURNS YOU ON RIGHT NOW? “I”m digging drum‘n’bass, dubstep and drumstep a lot at the moment so Chill by

Tantrum Desire & Youngman.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Parents didn’t agree on me training every second of the day saying I wouldn’t make a living from it, but now I am making my living off it they love it!” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “The hip hop scene is very diverse in Qld, everyone has their own take on what the scene is, whether it be what they wear to the music they listen to. It’s also great that st udios like Elements Collect ive are supporting all forms of hip hop.”

WHERE & WHEN: Break Classes every Monday and Thursday at Elements Collect ive


LAIDBACK LUKE AT THE MET DOUBLE PASS House music superhero Laidback Luke will be in Aust ralia this month for a whirlwind two week visit. The announcement follows another successful year for Laidback Luke, which saw the release of club smashes: Timebomb, Till Tonight and Indest ructible, with the latter being a collaboration with Swedish queen of pop Robyn. His classy remixes have also been in heavy demand this past year, with Dizzee Rascal, Moby, Tiësto, Ferry Corsten, MSTRKRFT, Black Eyed Peas and Calvin Harris all request ing his unique sound. Laidback Luke is set to perform at The Met this Friday 28 January and 3D World have five double passes to giveaway. For your chance to win email with LUKE in the subject line. Entries close Thursday 27 January. 44 3DWORLD






Rare groove is just that – esoteric soul, funk or jazz – but the movement itself was something more. A common misconception is that British party culture didn’t ignite until the rave era in the late 80s. Not true. Even before rare groove took off in London, the historically maligned northern cities had their own soul scene. Originating in the 70s, Northern soul was all about fetishising 60s rarities – commercial flops – released on Tamla Motown and other US labels. These uptempos were very dancefloorfriendly. Dave Godin introduced the term “Northern soul” in the mag Blues & Soul (he also ran a record store). One of the first Northern soul clubs was Manchester’s Twisted Wheel, a Mod hub. All-night (and day) parties would be a facet of the subculture – with clubs “members-only” to circumvent licensing laws. Decidedly unglamorous venues were used. The most famous club? The Wigan Casino. If Northern soul was about the 60s, with later releases disdained, then rare groove gravitated towards 70s music. A key player in the 80s’ rare groove phenomenon was Norman Jay. The West London DJ began playing vintage platters at warehouse parties to entice older heads onto the dancefloor. But, on a rig set up for dub-reggae, the music sounded funkier, deeper and dirtier. Jay’s sound system was known as Shake ‘n’ Fingerpop. He likewise hosted a program on the then pirate radio station Kiss FM, The Original Rare Groove Show, which gave the music its name. (Jay announced illegal events on it, too.) Jay’s ally was the posh Julius O’Riordan, a law st udent whom he nicknamed Judge Jules. The buddies flew to New York to hunt down rare records to play – and flog – back home. In the process, they discovered Paradise Garage... In his often contentious tome Generation Ecstasy, Simon Reynolds slags off rare groove for “its deference to a bygone, outdated notion of ‘blackness’.” Yet rare groove was never wholly purist or retro, but about recontextualisation. Hip hop was dropped – as were house and garage. Along the way, artists like the James Brown associate Bobby Byrd enjoyed career revivals. There was even a rare groove “look”: punters dressed funky 70s st yle.



Eventually record labels caught on and (re)issued tracks, or imports, eradicating their rareness (DJs were covering vinyl labels to maintain their exclusivity) – not to mention bootlegging act ivity. In 1993 Dez Parkes compiled a rare groove Mastercuts, entailing tracks from Leon Ware, Patrice Rushen and Patti LaBelle. (Oh, and there’s act ually an early Keith Sweat product ion – from 1985.) The rare groove scene not only spawned Soul II Soul, but also ushered in house, acid jazz (including Jamiroquai) and created an audience for Gilles Peterson and, ultimately, The Bamboos.




THAT’S INFOTAINMENT They’re the words you never want to hear when you’re watching late night TV: “The following is a paid presentation...”. Awful as they are, infomercials selling weird exercise equipment are a crucial ingredient of postmidnight TV. It’s amazing that there are enough people buying this st uff to warrant the hours of commercials every night. Watching one of these hysterical sales pitches recently, I was struck by how little they have changed over the years. The piece of equipment being offered for sale was called the “Ab-Tasticator” or something and it involved a lot of arm swinging and grinning for the ultimate workout. The people operating the “Ab-Tast icator” looked like the bizarre children of the fitness freaks who used to operate these things on the original ads – enormous chiselled men, clearly using the equipment in conjunct ion with lethal quantities of steroids. Greased up and spray painted orange, these psychos demonst rate the “AbTast icator” while insist ing that they used to be clinically obese until they made the six easy payments and developed freakish physiques using the “Ab-Tast icator”. They also like to tell you that they accomplished these ludicrous Mr Universe bodies simply by doing a ten minute workout each day. If you look down at the bottom of the screen, you occasionally see a tiny disclaimer warning you that “results may vary”. Just so you don’t get too disappointed. Of course, satisfact ion is guaranteed and if you aren’t 100 percent happy, you can simply mail it back within 30 days for a full refund. Th ink about that: “simply” mail the “Ab-Tast icator” back. No offence, but if you are so lazy and unmotivated that you give up on the exercise regime in under 30 days, where are you going to find the energy to pack a huge piece of equipment into a box and drag it down to the Post Office? I bet no one has ever used one of these things for more than 30 days. And I bet they’ve never had one of them returned in the post. No wonder the guys in the ad are grinning. They’ve got fat, unhappy TV addicts to pay for their steroids for them. DAVE JORY


ONELOVE CDS Sonic Boom Box is Onelove’s new soundtrack for those hot holiday arvos and after-dark escapades. Enlist ing the talents of superstar international elect ro pop producer/DJ Calvin Harris, alongside Aust ralian ITM50 DJ poll top three mainstay Andy Murphy and back room tact icians Acid Jacks, the compilation brings together three discs of the freshest club and crossover radio gear including: Tiga, Steve Angello, David Guetta, The Immigrant, Axwell, Tune In Tokyo, Wynter Gordon, Deadmau5 and more. Sonic Boom Box is the perfect snapshot of Stereosonic 2010 performances to have to keeping you jumping for joy this season. For your chance to win a copy of Sonic Boom Box simply email your name and address to with SONIC in the subject line. Entries close Friday 28 January.

BLOG STANDARD MAN REPELLER Overview: Leandra Medine, 21-year-old University st udent and creator of the fashion blog describes her ethos as “outfitting oneself in a sartorially offensive way that will result in repelling members of the opposite sex”. Most people, particularly those in a relationship, can relate to the rise in trends that are loved by women but that confound and disgust men. It is empowering to any girl who has ever had to stand up to a boy who found her outfit repulsive. The blog features items such as harem pants, boyfriend jeans, overalls, shoulder pads, full length jumpsuits and clogs. Design: The design is a little haphazardly arranged and it is hard to see where one post begins and one post ends. However, the content doesn’t really need to be read chronologically – it is a blog to skim. Recent Posts: Getting Street Styled Part II: A Lesson in Layering “I imagine that after taking a cue or two from my fi rst installment of Getting Street Styled, your efforts at standing against brick walls waiting for wo/men with enormous cameras around their necks have become far better received. And in the event they haven’t, that’s weird, you may want to reconsider your lip color.” According to Medine, you know you’re an offending dresser if you’ve ever had a

conversation that started like this: “Girl 1: What are you wearing tonight? Girl 2: My sweet lime green drop crotch utility pants Girl 1: Oh, so we’re man repelling tonight?” Quality of content: The posts are humorous and thoughtful and the handpicked antiguy pieces are definitely worth a browse. However the blog will resonate more with those who have an opinion; if you’re a slave to the man-repelling fashion or even if you’re opposed to this growing fashion trend you will find the quality of content more to your liking. Frequency of updates: Every one-three days Downloads/Streaming: None. Audience: The online chronicle of “sartorially contraceptive” looks is for feminists, dudes who like to browse fashion they find heinous, those who have had the heated “harem pants” debate with their boyfriend and anyone fashionably inclined.




WASTE NOT WANT NOT: THE ART OF LOOTING IN TIMES OF CRISIS In the wake of the Queensland floods, there has been a lot of talk about issues with looting.

Queensland police have set up a 200-strong anti-looting force, and the mayor of Ipswich, Paul Newman, sent out the message that “anyone caught looting will be used as flood markers”. Geez, Paul, that’s a bit harsh, isn’t it? After all, the looters are some of the only people who seem to have supplied any light entertainment in this whole thing, such as the two “pirates” who were sighted looting a 7/11 in a canoe, and managed to get away from security guards by rowing extremely slowly back up the “road”. Without a doubt, some looting is hilarious and unnecessary, like in the case of the aftermath of Hurricane Katrina, when residents started looting Walmart as soon as the hurricane passed, making off with trolley loads of shoes, TVs, bikes and anything else non-survival based that they could get their hands on. In many cases, looting is nothing more than opportunist ic crime. People realise that everyone’s probably too busy to stop them, so off they go on a fun day of breaking and


entering. But then there’s the fact that when there’s been an earthquake, or a huge flood, the majority of shops get abandoned. Looting generally has a place in a natural disaster, and nowhere is this more the case than in Queensland, where the affected areas are all running out of essential supplies and vital transport routes have been cut off by the floods and aid can’t get through. There are piles of food for the vict ims, but the real issue is how they’re going to act ually get it to anyone. When natural disasters occur, the need for access to food and clean water becomes more important than ever, and as far as this goes, surely people have a right to try and get their hands on food that is almost definitely going to rot or be ruined by the floods anyway if they don’t take it. Looting from shops after a huge disaster is not the same as nicking things opportunist ically. I say that looting is what makes this country great – the ability to think on our feet and steal shit when push comes to shove is an important skill to have, and one that we shouldn’t forget about. HOLLY HUTCHINSON

TUBETIME The incredible world of television with 5SPROCKET

ELEVEN REASONS WHY OPRAH (ON HER ULTIMATE AUSTRALIAN ADVENTURE) DESERVES OUR RESPECT 11. Only Oprah can command the gods of the coral to deliver 15 buff men carrying trays of shellfish. Well done. 10. Oprah is the friend you always wanted but never had, most ly because Oprah only wants to exploit your friendship as a slant in a segment in an episode of her programme. The day that Oprah shows up at your house for tacos unannounced is the day that you can ruin all your real friendships through your fleeting sense of self-worth and ‘“I met a celebrity” status. 9. Oprah called her visit to Uluru a “Holy Jesus experience”. 8. Oprah is a fertility goddess. Not only did koalas fuck in front of her, one of Oprah’s fans announced her pregnancy to the celebrity host before she bothered to tell her husband. Husband was understandably pissed off – Oprah got his wife pregnant. 7. Oprah can give every kid in a Sydney school their own laptop. Not even Kevin Rudd could do that, and he can do everything. 6. One of Oprah’s guests – Marcia from Cincinnati, Ohio – had a phobia of bridges. Oprah helped her conquer this by taking her on the Sydney Harbour Bridge climb, where she waited at the top for 20 terror-st ricken minutes while the camera helicopter refueled. Marcia thanked Oprah for this life-changing opportunity. 5. Oprah can make a pregnant woman give birth four days after meeting her. 4. Only a celebrity as major as Oprah can brand the fi rst letter of her name to the Sydney Harbour Bridge, something that ultimately looked like an inflamed asshole on the evening city skyline. 3. Never before has a middle-aged woman given so many pearl necklaces to so many in such a short space of time. BYO towel. 2. Because Oprah can inspire while being fiercely inarticulate: “Great things can happen in your life. I want you to take that energy, hold it in your heart and when return and how you live and how you give and what you do and who you are release that in to the world as it was given to you.” 1. She doesn’t deserve our respect at all.



It’s hard to believe the annoyingly mannered pint-sized princess Padmé Amidala of Star Wars prequel train wreck could pull off such a mammoth role as her starring turn in Black Swan, especially after her public crucifi xion alongside Christensen (Darth Vader before he was cool) and the most hated Star Wars character of them all, Jar Jar Binks. Darren Aronofsky’s ballet epic dishes out performances nothing short of extraordinary. Portman’s usual deadpan demeanour is st ripped back to portray the prest igious New York City Ballet company’s terrifying perfect ionist, the fict ional Nina Sayers. Terrifyingly gaunt, in the public eye Sayers exhibits the virginal innocence of a budding flower rather than the control freak recluse that she is. The actor’s 12 months of hard training pays off as she becomes the treacherous dancer, her dual personality held at bay by an arduous training regime and not so subtle eating disorder – that is until her lead role in new product ion Swan Lake is threatened by the lust y, rebellious, tattooed Lily played by Hollywood’s dark horse, Mina Kunis (That 70’s Show). The fast paced cutaway scenes between the girls, the heated arguments, the lavish cost umes and emotional dance sequences secure the viewer, thanks largely to Aronofsky’s direct ing smarts. The director focuses on age-old themes of good versus evil, yin versus yang as a frightful battle between the ballerinas take place and Nina is engulfed by her role as Odette, the princess turned into a swan by an evil sorcerer’s curse. Aronofsky nails the whole psych-thriller genre with twisted special effects as Nina’s looming mental illness ends and her evolution into the role of Black Swan begins. Faces morph, violent bloody scenes unfold and that famous girl-on-girl sex scene ensues. Pushed by the company’s director Thomas Leroy, played effortlessly by Vincent Cassel who encapsulates the seedy authoritarian to a tee, and pressured by her overbearing, tyrannical ex-ballerina mother (Barbara Hershey), she is kept housebound as the immortal prepubescent girl, sexually repressed and emotionally absent. The dialogue and interact ion between Portman and Hershey is without fault, both act resses succeeding in portraying the constant battle between freedom and incarceration. The climact ic dance scene is bittersweet but ultimately makes the movie, the sense of urgency and frenzied subplotting coming to a head as we see that deep down there’s a bit of evil in all of us. WHERE & WHEN: Screening in cinemas now FERN GREIG-MOORE






2011 : LIVING ON THE EDGE “Th roughout history, intellect ual life has been marked by the fact that only a small number of people have done the serious thinking for everybody else.” John Brockman, founder of the The Edge, a group of most ly men, who earnest ly call themselves The Reality Club, Digerati and Cyber Elites. Weird owl hooting cultiness aside, The Edge folks do manage to publish an entertaining collection of ideas at the start of each year. These ideas are gathered in response to a specific question from those who’ve mastered the secret handshake. For 2011, they asked “What scientific concept would improve everybody’s cognitive toolkit?” There’s plenty to chew on (150-plus entries ), but here’s a few quick concepts to digest while lining up for flood welfare payments... 1. WE ARE NOT ALONE IN THE UNIVERSE Pushed by Craig Venter, the guy who created the first synthetic life a while ago and sequenced the first genome of a living species. The recent discoveries of numerous Earth and super-Earth like planets outside our solar system greatly increases the probability of finding life. There are an estimated 100,000 Earths and super-Earths within our own galaxy. Moving past our human-centric, Earth-centric view of life will profoundly change culture and society. 2. COGNITIVE HUMILITY Psychology Professor Gary Marcus suggests that “human beings tend almost invariably to be better at remembering evidence that is consistent with their beliefs than evidence that might disconfi rm them”. (Will you remember this?) 3. TECHNOLOGIES HAVE BIASES According to Douglas Rushkoff, “guns don’t kill people, people kill people”– but guns are more biased towards killing than pillows are. If we are aware an iPad is more biased towards consuming and buying media rather than creating it, we can minimise this by using a keyboard with it. How should we treat our cars, our Facebook accounts? 4. ECOLOGY Brian Eno says the shift from viewing the world as a hierarchy with us at the centre, to viewing the world as a weblike system can help us “realise that the cleaners and the bus drivers and the primary school teachers are as much a part of the story as the professors and the celebrities... and we can start to accord them the respect they deserve”. @JEAN_POOLE


HOW DID THE HAVKNOTZ COME TOGETHER? MC Lost y: “The Waza/Lost y alliance formed some 14 years ago but the name The Havknotz is around three years old. Over the years both of us have been in many bands together. Only after this long have we hit a mindset of self reliance in the knowing that other additions to what we already have will only slow us down, with the exception of DJ Kilmer who joined us around March 2010 and has become a valued addition to our live shows.” WHAT WERE THE CHALLENGES YOU FACED WHILE PUTTING THE EP TOGETHER? “The biggest challenge and limitation we faced was two line-up changes. The extra delays gave us time to refine the songs, turf some old ones and add some new ones, re-record st uff and make it tighter, develop two different types of live set, find the right DJ that understood what we needed and obtain the confidence to know each other is all we need and if we think a song needs a new element to audition guests till the right one fits.” HOW DID YOU GO ABOUT SELECTING ARTISTS TO COLLABORATE WITH ON THIS RELEASE, AND WHAT DO THEY BRING TO THE TABLE? “Rob Hirst [Midnight Oil] sampled a custom made verse I did for him for his track New Freedom Road on his solo album so he returned the favour and laced On A Storm with his trademark drums. He also played a bunch of beats for us that we are going to use for future tracks so expect more Havknotz/Rob Hirst collaborations on our next CD. Junkie Bullshit was already finished when we talked about doing something with Ill Bill. We are both massive fans of La Coka Nost ra and Bill’s solo st uff and knew he would dest roy the beat so we ditched the thirdverse and added him to it. We are massive House Of Pain fans and really liked Sadat X’s verse on their album as well as his own Brand Nubian st uff so we reached

out to him and he came with the goods, we thought we’d make it a posse track as well so we added Fortay, Redbak, Anecdote, Johhny Row and Plague to what would become the track Hannibal’s Army. 2Furious we found thanks to some mutual friends, DJ Morgs had collaborated with Waza before and fi lled in for us when we had no DJ and Stevie Knight was recommended to us as we where auditioning rock singers for On A Storm. In a nutshell they all add colour and shade to the EP and bring out the best in us.” WHERE ARE YOU IN YOUR ELEMENT – STUDIO OR STAGE? “The st udio is always fun and its work that doesn’t feel like work. Long hours fly by when you’re doing what you love and there’s nothing like living with a purpose inside you that feels like it’s being poured into the right direct ion. The stage we love equally because we get to unleash these monsters into the world, there is nothing better than seeing a room full of people react ing positively to your music that you have created and hearing that roar as the song ends of everyone loving what you just played, looking into the eyes of the crowd and seeing them lit up because they are feeling it.” HOW DO YOU ENVISION MUSICLIFE-PAIN TRANSLATED INTO A LIVE PERFORMANCE? “Live we have Waza on the bass, me on the rhymes and DJ Kilmer on the decks and cuts. We play 80 percent of the EP, the songs that feature guests we tend to do if the guests can make it or we trim them down, we play one song that’s coming on the next CD and play a remix of another song we have coming over a MOP beat, and we break all this up with a bass solo from Waza and turntablism from DJ Kilmer.” WHO: The Havknotz WHAT: Music-Life-Pain EP (Independent) WHERE & WHEN: Corner Hotel (Melbourne)

Thursday 27 January, The Hi-Fi (Brisbane) Friday 28 January, Manning Bar (Sydney) Saturday 29 January






designer Kathryn Baul Baulch, lch, who spent five years at the creative helm of Mimco jewellery, House Of Baulch’s collections are strongly thematic thematic, c, balancing edgy glamour with classic detail, sophistication and art deco designs. Items are a unique balance between experimental experiimental styles and eternal eloquence. House Of Baulch releases two collections annually and items are available availaable through selected boutiques and online stores. View the full collection at



Brooke Daniels Splice Twiggy dress ~ $180. (02) 9090 2246

Billies Flynn charcoal denim shoe ~ $49.95.

Lancome Le Vernis nail polish ~ $19.

Shakuhachi Day Tripper pocket shirt dress ~ $220.

Fossil Maddox hobo bag ~ $299.


Lure Briefs Adiverse

Adidas and Intel unveiled the adiVERSE Virtual Footwear Wall last week – a virtual shoe-shopping experience that determines the gender of each potential customer via the built-in camera, then presenting the appropriate shoe styles on the screen. The virtual shop is capable of storing 3D renderings and data for over 8,000 shoe combinations. It can also scan social networks for the latest trends – all you have to do is select size and colour.

Nooka ZUB ZENV GP20 GP20 ~ $130.

Pose Deter TV mens’ tee ~ $49.95.

If you love to get the advice of pals when making fashion purchases then meet Pose a new iPhone app designed to digitally document you shopping adventures. The premise is simple: when you’re in a store and you come across a cute jacket, or some nice jeans, Pose invites you to take a snapshot. Next, tag it with your current location and the item’s price, then share it with friends who can comment. The app is free for download via iTunes.

Big Apple Damselfly Icon Neckpiece ~ $139.

Launching this September, Fashion Palette New York will introduce a rare global opportunity for Australian fashion designers to showcase to the world’s elite stylists, media and buyer community from across the globe in the incredible Big Apple. The opening gala for the event will see 12 Australian designers work together for 12 unique charities providing those involved with a wonderful introduction to the vibrant New York fashion scene. Applications are now open. For registration and more information, please visit

EPIC Nightcap Clothing chain drop dress ~ $250.

Glamazon Elle Macpherson stepping out last week in an elegant strapless black floor-length gown with a corset back and black satin sandals at the launch of the Portofino range of watches in Geneva.

FAIL Veho 360 wireless Bluetooth speaker ~ $34.95.


80 year-old loudmouth comedian Joan Rivers arriving at New York’s JFK airport last week looking like a fading rap star in a massive fur coat and blinding gold chain. Leave that look to Kanye, Joan.



Seattle, 1991.

FEATURES? Fabric changes colour when exposed to heat.

PROS? Provided minutes of fun for the whole family.

CONS? This one-trick pony was easily damaged if washed in hotter than recommended temperature, ironed, bleached or trumlbe-dried. Unsightly sweat marks were also a problem.

COST? Cheap.

FROM? Your local op shop.



Unknown, but experienced an “ironic” early 2000s mainstream resurgence.

FEATURES? Wide curved brim, part foam/part plastic mesh head enclosure, adjustable plastic snap closure at the back.

PROS? Plastic mesh enclosure means at least half of your head will be cool.

CONS? No matter how awesome you are, wearing one will see you branded a douchebag from 20 paces.

COST? Your credibility.

FROM? Everywhere.



Longmont, Colorado, 2002.

FEATURES? A foam clog design, originally developed as a spa shoe.

PROS? Unknown.


Time Magazine declaring them one of the world’s 50 Worst Inventions in May 2010 pretty much says it all. They’re also ugly as hell.

COST? From $9.99.






3D World - Brisbane Issue #1145  
3D World - Brisbane Issue #1145  

3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...